Monday 6th October 2025
Blog Page 911

AW17 Rundown: London, Paris and Milan

0

‘Escapism’ was a word thrown about frequently in the coverage of Europe’s fashion weeks this season, and with good reason. With the increasingly harsh political climate, London, Paris and Milan proved extremely reactionary in what they sent down their runways this time round. Vintage shapes, space-age fabrics and silhouettes dominated London; Paris concerned itself with issues of femininity; while Milan’s runways were entirely monopolized by everything shiny and sequined.

London Fashion Week clearly had Brexit on the mind. Many took the ‘bury your head in the sand’ approach; brands such as Mulberry and Emilia Wickstead took inspiration from vintage styles, with 1930s tartans dominating at the former and Victorian puff sleeves at the latter. The likes of Burberry, Molly Goddard and Mary Katranzou retreated into exaggerated, princess cuts. The line between art and design was thoroughly blurred this season; ‘wearability’ became a burden to be shrugged off for Fashion East and On/Off sent out models wearing wacky woolens and spiked, inflatable leotards.

As per, the ‘cut’ was avidly discussed from collection to collection in Paris. Issey Miyake notably took this to extremes, exhibiting models swathed in origami bundles of fabric. ‘Femininity’ came under question, and was central to many collections. Chloe and Elie Saab interpreted femininity through a lens of über-girly gauzes and pastels, whereas others such as Nina Ricci and Dries Van Noten (in his 100th show) presented it as something more loose fitting, broad shouldered, and bold patterned. Yet little effort was made by designers to broach more current issues; the inclusion of transgender models struck an all time low, with no transgender models walking any shows in Paris, or, indeed, London and Milan. The majority of shows were remarkably white. In fact, it was disappointingly common for the number of non-white models in a show to fall well below double digits.

Milan, less caught up in the issues explored in London and Paris, proved sumptuous for the eyes. It is not unfair to say that Gucci’s pieces would likely attract a few birds with the amount of sequins, velvets and vinyls employed by commander in chief Alessandro Michele. Leitmotiv, Bluemarine and Anakiki all followed, embracing this level of decadence. However, that’s not to say that Milan as a whole remained entirely a-political. Prada presented a retrospective on what it is to be a woman in this day and age, which was reflected in the diversity of colours and cuts used.

Dior

Maria Grazia Chiura, Dior’s first female head of house, narrowed the brand’s parameters significantly this season with her near exclusive use of blue, and yet, in doing so, widened the appeal. In her previous collection she was credited with softening the classic Dior silhouette, making it more manageable yet still elegant—something more realistically feminine. This continues in the Fall 2017 collection, with the adoption of loose denims alongside the classic velvets and sateen’s that characterize the brand’s typical output. She stressed the importance of speaking to the ‘millennials’ and further claimed that her goal was to ‘build a wardrobe’ that allowed women to ‘express and protect’ themselves. With the current political climate it is unsurprising that her models were dressed in Black Panther style leather berets and ammunition belts. Yet she clearly achieved her goal; through the inclusion of loose denims and delicate evening gowns there is both diversity and realism in the collection.

Fashion East

Fashion East, a non-profit organisation created with the aim of championing new designers, has proved remarkably canny in its choices for the runway in the past. Meadham Kirchoff, House of Holland, Jonathan Saunders and many others found their start there, and it seems that this year was no different. ASAI, Matty Bovan, Mimi Wade and Supriya Lele were presenting this year, all with equal success. Wade and Bovan sent two very unique and incredibly strong collections down the runway. Wade’s Dial M for Mimi was a feast of pastel colours and wild textures that would appeal to the Lazy Oaf buyer as much as to Hitchcock film buffs, and Bovan’s mixture of fabric and pattern clashing seemed almost akin to sculpture. Importantly, all collections were modelled by a diverse set of models, making Fashion East one of the collections perhaps more truly representative of the reality of the London fashion scene.

Gucci

While Alessandro Michele has drawn some criticism with his past collections, or perhaps ‘campaigns’ is more accurate, for attempting to pander to millenial customers in an attempt to increase sales. I would actually argue that this was the winning ingredient in his recent collections. At once both gaudy and graceful, it seems impossible to chart Michele’s references – he sends a 1930s influenced black and white dress with enormous floral applique down after a spandex leotard covered by a lumberjack shirt. With his decision to mount both menswear and womenswear in the same show, he has created a great air of showmanship. Indeed, the entire collection feels very theatrical; and it even seems to show a sci-fi influence through the mixture of eye catching fabric and the repetitive floral motifs.

Molly Goddard

Goddard periodically sends girls down the runway in mountainous piles of brightly coloured tulle, and viewers were not disappointed when she continued this trend. Her choice defies explanation—is it meant to be nostalgic of Disney princesses? Is the smock dress style supposed to be evocative of some historical period, or the traditional handy-crafts she specialises in? It ought to be noted that regardless of explanation, the sheer intensity of the collection never fails to stun. The dresses are admittedly unwearable, but they are incredibly fun, and it is the distilment of this sense of joy that makes Goddard one of the more promising young designers to have presented this LFW.

Prada

Prada this season concerned itself with two vague concepts: ‘womanhood,’ and ‘revolution.’ They compiled a bricolage of looks from different periods: 70s suedes, 40s wiggle skirts hemmed with extravagant feather trims; timeless wool jackets with giant collars; and notably, some rather abstract fur slippers that if not for their pastel colourings could have been from the Paleolithic.

Yet the collection remained incredibly modern; the looks, through the obsessive mixing of eras, palettes and textures, become somewhat hard to swallow, and indeed, stronger for it. Mounted against a backdrop of posters bearing slogans such as ‘Fashion is about the everyday and the everyday is the political stage of our freedoms’ and ‘it is hard to think that any form of cultural production will be exiled from taking a position in favour of the liberal values we share,’ the collection is transformed from a retrospective of womenswear throughout the ages to a dare of engagement—whether on the part of the world to engage with women, or vice versa, who’s to say?

Government plans to protect freedom of speech in universities

0

The government is reportedly planning to protect freedom of speech within universities, a letter written by the universities minister Jo Johnson has revealed.

In the letter, which is to be disseminated to all universities, Johnson wrote that it was the duty of universities to ensure that freedom of speech is ensured for “members, students, employees and visiting speakers”. As a result, public speakers may no longer be able to be banned from speaking at universities.

This comes after allegations of censorship have affected UK universities, with The Times reporting that 94 per cent of campuses have some form of restriction on freedom of expression. It cites Julie Bindel, a radical feminist who had made allegedly transphobic comments, and was subsequently banned from speaking at Manchester University’s Student Union.

Johnson said: “It is important to note that the duty extends to both the premises of the university and premises occupied by the student’s unions, even when they are not part of the university premises.”

Johnson is also reported to have written about how the government plans to implement the Higher Education and Research Bill, saying: “The government proposes to raise the issue of freedom of speech, with a view to ensuring that a principle underscoring the importance of free speech in higher education is given due consideration”. The Higher Education and Research Bill proposes that “UK universities must ensure that they promote freedom of thought”.

The Higher Education Bill is currently passing through the House of Lords.

Oxford University has come under criticism for its approach to freedom of speech. In February, the online politics magazine Spiked gave Oxford University and OUSU a ‘red’ rating for campus freedom of speech, for the third consecutive year.

The magazine wrote: “The University of Oxford, the Oxford University Students’ Union and its constituent colleges and JCRs collectively create a hostile environment for free speech. The university, which has moved to a Red ranking, restricts ‘offensive’ and ‘needlessly provocative’ speech, and insists people use transgender pronouns.”

In an apparently sarcastic response to Spiked‘s criticism, OUSU said: “At OUSU, we’d like to say how proud we are to have received a red ranking from Spiked for the third year in a row. This red ranking recognises, among other things, our work in lobbying the University for a harassment policy which supports all students who need it, our incredibly well-received consent workshops and our firm pro-choice policy which extends to a ban on publications which attempt to manipulate vulnerable people into unwanted pregnancies.”

Donald Trump’s former campaign manager, Corey Lewandowski, was met by protestors from Oxford University Labour Club, Migrant Solidarity and LGBTQ societies when he came to speak at the Oxford Union in November last year. Protestors condemned the Union’s decision to allow him to speak.

In an earlier statement on freedom of speech, Oxford University said: :Recognising the vital importance of free expression for the life of the mind, a university may make rules concerning the conduct of debate but should never prevent speech that is lawful.”

In 2015, OUSU caused controversy by banning the libertarian magazine No Offence from Freshers Fair. Following Johnson’s letter, No Offence editor Jacob Williams told Cherwell: “If this actually results in meaningful change on the ground, it is to be welcomed. Universities are supposed to test and scrutinise ideas and that requires freedom to express any belief you think is justified.

“I look forward to the day when we no longer need to discuss free speech and can instead vigorously discuss the positions that some would like to censor, many of which were common sense just a few decades ago.”

Oxford students charged £92,254 in overdue library fines in 2015-16

0

Oxford students were charged £92,254.70 in University library fines for overdue items in the 2015-16 academic year, figures show.

A Freedom of Information (FOI) request, seen by Cherwell, shows that the University’s Bodleian Libraries charged undergraduate students £59,360.73 in overdue fees, while postgraduate students were charged a further £32,893.97. The money relates only to books returned after their due date.

Bodleian Libraries said this money was “spent on buying additional copies to alleviate the inconvenience to other users who could not access a book they needed because it was returned late.”

The latest figures follow continued controversy surrounding fines against Oxford students by both Colleges and the University. Last month, a Cherwell investigation found that 14% of Oxford Colleges have fined their students over £25,000 since 2010. 95% of fines levied by Colleges were library, lost book, or administrative fines.

Oxford’s Bodleian Libraries constitute a group of 32 libraries across the University. While fine policies differ among the libraries, the majority charge 20p per day for overdue standard loan items, while short loan books are charged at £1 each day past the due date. Overnight loans are charged at 50p per hour.

If a reader reaches total fines of over £10, they must be paid before the reader can continue to borrow.

A Bodleian Libraries spokesperson told Cherwell: “Fines are a standard procedure used across libraries to ensure that materials are returned on time and thus made as widely available as possible to all readers.

“The money from fines is reinvested into the Libraries.

“The total amount per fine is relatively low, an average of 87p per fine.”

Survey finds Oxford students hardest working and most miserable in UK

0

Students studying in Oxford are the most miserable in the United Kingdom, according to a survey.

The study, conducted by the firm Student Living by Sodexo, found that 22% of students across both Oxford University and Oxford Brookes admitting that they regret enrolling. This is 10% higher than the proportion of students at York, and double that of Cambridge.

The survey assessed a range of factors, including everything from satisfaction with the education to nightlife. Whilst 56% of those students asked about their education claimed that they attended every lecture and seminar, 65% claimed that the only reason they missed contact time was due to lack of sleep.

The survey follows a report recently released by the Oxford University Student Union (OUSU), which claimed that 43% of students at Oxford feel that attending the University has adversely affected their mental health.

Between 2004 and 2014 the amount of students seeking counselling rose by 136%, and the National Union of Students (NUS) continues to estimate that 10% of students nationally seek such services.

Sodexo have been contacted for comment.

Oxford secure Varsity football double

The tension in the terraces of The Hive was palpable as the Oxford-Cambridge Varsity double-header got under way with the Women’s match.

Cambridge had a lot of the early possession, using great control of the ball in the midfield to force multiple chances with the speed of striker Xelia Mendes-Jones, who has made a habit of putting away hat-tricks in the BUCS league. Whilst she seemed uncatchable chasing Cambridge’s long balls through the middle, the unwavering pressure of Oxford’s back four meant that she was never given the chance to trouble May Martin, who proved a very safe pair of hands in goal throughout the first half.

Impressive on the counter-attack, Oxford found some early success with quick balls down both wings, as Caroline Ward and Becca May began what would be a standout performance from each of them. Some skillful play outside of Cambridge’s box saw Colleen Lopez round the Light Blue midfield and it was only the tireless work of Cambridge right-back Beccie Graves that saw the early chances of lone striker May not develop into anything more. Despite enjoying fewer chances in the box, Oxford’s accuracy under pressure saw them put more shots on target as they headed into the changing rooms at 0-0.

The Oxford team rallied, despite their frustration with a very solid Cambridge back four, and whatever the seasoned Oxford management said saw a marked shift in play as they headed out for the second half. Oxford began to make full use of the width in their heavily-loaded midfield to build their counter-attacks more slowly, giving May enough time to position herself for the through ball.

Just two minutes into the second half this newfound momentum saw Oxford capitalise on their accuracy in midfield; Ellana Slade’s pinpoint pass found May as she barged past Cambridge captain Gerda Bachrati and slotted home Oxford’s first with a strike across the Cambridge keeper.

Cambridge responded by ramping up their aggression, finding Becca Hirst more frequently as Bachrati began to open up the left wing with a few long balls. Eventually, Cambridge were rewarded for their pressure with a free-kick on the left of the box, whipped in by Bachrati to a Cambridge formation which had the Oxford defence confused. After a bundled attempt at a clearance, Light Blue midfielder Ceylon Hickman headed the ball into the far left post of the Oxford goal and past the hands of Martin to bring the score level.

Despite finally having some luck in the Oxford box, Cambridge still could not cope with the speed and aggression of the Oxford counter-attack, and with fifteen minutes left May found herself with a little space on the right wing, although with limited support. Nevertheless, after rounding Bachrati, May showed shades of a 2012 Papiss Cisse with a perfectly struck ball over the keeper’s head and into the bottom left corner.

With fatigue creeping in, Cambridge threw Daisy Luff up front to try to trouble Martin a little more, but even with a beautifully worked chance through the middle of the Oxford defence, Luff’s through ball to Hirst still wasn’t enough to draw level.

With only four minutes left on the clock, once again it was Rebecca May who capitalised on a scrappy clearance from the Cambridge right-back. She found herself in space with only Laura Bleehen, the Cambridge keeper, to beat. With a carefully timed nudge to the left, May rounded Bleehen and proceeded to roll the ball into the back of the net as the Light Blue centre-backs chased it over the line.

Following May’s hat-trick, the Dark Blues looked to secure their third consecutive Varsity win as the Men’s teams prepared to take the field.

As the two Blues warmed up with 134 years of Varsity hostility sitting between them, their minds only focused upon the game that lay ahead. Even though the Dark Blues had secured a 4-2 win and a 0-0 draw away in their last two matches against Cambridge this season, and victory at the last two Varsities, being the favourites going into the Varsity Match would never be enough to stop either side from putting every part of themselves into the match.

From the kick-off, Oxford’s dominance was obvious. A quick move by Dominic Thelen, Oxford’s top scorer, saw him pickpocket Cambridge’s full-back and hit a slow shot on goal. Michael Feeney’s attempt to finish the job saw the linesman raise his flag, to sighs of relief from Cambridge. Despite some shaky passing in the early stages, a movement through midfield saw Cambridge finally secure a free kick close to the Oxford box.

Defensive confusion meant they got away two shots: the first was a little wide and deflected, but the second from George Herring was the first to test Oxford goalkeeper David Windmill who kept his cool and collected the ball.

After this brief intermission, Oxford regained their dominance, slipping ball after ball down the left wing to wing-back Alex Urwin, who seemed to be perpetually in space. Working through Urwin and midfielder Wulfie Bain to Feeley, Oxford kept the pressure up and forced a corner. Pinged in from the left by Urwin, Oxford flooded the box. Sam Hale brought the ball down in front of goal before Thelen, ever-present, buried it to take the lead.

Still looking a little unsure in possession Cambridge struggled to put much together until Andy Sears-Black, a Cambridge fan favourite, followed up on a volley from the edge of the box, blasting the ball into Windmill who didn’t even flinch before taking the ball and moving it back up the left wing.

Uncharacteristically, there was disarray in the Oxford box; the ball was cleared but was quickly fired back in. It found its way to the back post, where full-back Ben Bolderson delightfully lofted the ball over the Oxford keeper. Against the run of play, Cambridge were level.

The Oxford dressing room was initially deflated at half-time, but a rousing speech from the coach reminded the players of the calibre of their first half performance and reignited the Dark Blues’ spark.

Cambridge started the second half stronger, putting Oxford under early pressure and stopping them from playing their passing game. However, the game began to open up and Oxford found space. Oxford not only looked more dangerous on the ball, but they also proved to be a threat from the dead-ball. Corners and free-kicks almost always resulted in a chance whilst Cambridge found it hard to deal with Urwin’s Rory Delap-esque long throws into the box.

In a quick turn of events, Oxford translated their dominance of possession into tangible results, with back-to-back goals. The first was a Salama own goal, turned in from a low and hard Thelen cross, created by his pace down the right flank. After a goal-line clearance and scramble within the box, Oxford’s foreign talent, Joan Crespo, coolly slotted the ball into the bottom right corner, giving Oxford a two-goal lead.

Chasing a two-goal deficit Cambridge looked like a beaten team. But, with ten minutes to go, they found a goal out of nowhere. A delightful through ball was met with a stunning finish, which David Windmill could do nothing about.

A goal down with ten minutes to go, you would expect the rest of the game to be all Cambridge. However, this wasn’t the case. Whilst there were a couple of scrambles in the Oxford box, man of the match, Michael Moneke, was able to deal with them effectively.

As the final whistle blew, it was evident that despite a spirited Cambridge performance, Oxford had been good value for a third successive Varsity win on an historic afternoon at The Hive.

Exeter College’s Cohen Quad formally opened

0

Exeter College has officially opened the newly built Cohen Quad on its Walton Street site. It was due to open in August, but delays meant that 86 students were forced to move into hotel accommodation for the duration of Michaelmas.

Designed by architect Alison Brooks, there are 90 student bedrooms, a lecture theatre and a café, as well as teaching and archive space. The college purchased the site in 2010 from Ruskin College, with the redevelopment made possible by eighteen million pounds worth of donations.

The building has been named after the parents of lead donor and alumnus Sir Ronald Cohen, who graduated with a PPE degree from Exeter College in 1964. Sir Ronald said: “It is at Exeter College that I really learned to think. Education is the one possession that cannot be taken away and I am lucky that I can help future generations of Exeter College students to live in a collegiate environment where their minds are best nurtured and inspired.  The stunning design by Alison Brooks will greatly enhance our College’s life.”

Isabella Neil, a third year English student, said: “It is less obvious how great an impact the new building will have on students’ everyday lives. The extra living space that Cohen Quad offers means an end to Exeter students desperately scrambling to find private housing that is ‘adequate’. We now have the option to avoid 52-week rents, hefty deposits and administration fees, and potentially difficult landlords.”

Exeter College said in a statement released on their website that Cohen Quad “Will have a significant impact on encouraging students to apply to Exeter College and the University of Oxford. It will help to alleviate pressure on Oxford’s private housing market and will provide students with pristine and affordable accommodation designed around the needs of modern students, including 30-week rather than 52-week lets. Cohen Quad therefore makes an Oxford education both more affordable and more enjoyable.”

 

 

 

 

Is The Nightly Show an expensive insult to the British public?

0

Television and radio are incredibly important in today’s world. With the advent of fake news, the rise of populism, and issues such as Brexit being discussed behind the closed doors of Whitehall, the British public needs outlets such as the BBC, ITV, Sky and Channel 4 to stay informed.

For all the criticisms one can direct towards the BBC—whether it’s the licence fee, the salaries of their biggest stars, or the fact that Nick Grimshaw still has a radio show—they have covered the ongoing drama of Brexit in great detail across their range of current affairs programmes.

Over at ITV, meanwhile, we have seen the collapse of the recently re-launched News at Ten. The Nightly Show has replaced Tom Bradby’s programme, and has quickly drawn criticism from almost every corner of the media industry. Whilst it was hoped that the show could become the UK equivalent of CBS’s hit The Late Late Show with James Corden, with its mix of sketches and celebrity chat, it hasn’t quite hit the mark. In fact, David Walliams’ first stint as host was described as “unbelievably poor television” by Buzzfeed’s TV Editor, Scott Bryan.

More recently, the Daily Mail reported that ITV bosses are under pressure to replace the show with the news, after just 923,000 people sat down to watch Davina McCall host Tuesday night’s show. For comparison, the last time the news aired in that slot, it pulled in an audience of 1.7 million.

Regardless of viewing figures, ITV are playing a very dangerous game. While both the BBC and ITV are organised differently and are accountable to different people, side-lining a prime time news programme for a poorly written and produced entertainment show is unforgivable. It’s a huge waste of money too, costing the broadcaster £10m, while Mel and Sue—former presenters of The Great British Bake Off—have already backed out of discussions to host a week’s worth of episodes.

This debacle has illustrated the clash between ITV’s current creative direction and their duty as a national broadcaster: to report the news. Moving the News at Ten is symbolic of their true priorities; they seem to care more about cheap laughs than about serious stories.

Of course, some may argue that ITV has a right to alter its schedule as it pleases, but these reshuffles show a lack of understanding of what the British public deserves during these momentous times of upheaval for the country.

Fortunately, other broadcasters are unlikely to follow suit and downgrade the position of the news. One can only hope that The Nightly Show is moved or cancelled, as then the British public can have the news delivered accurately by one of its major television channels.

Friendship, Feminism and Fun(damental Rights)

0

On International Women’s Day, the Oxford Belles released a music video to Cyndi Lauper’s Girls Just Want To Have Fun, which gained over 40,000 YouTube views and a shout-out from Cyndi herself. The video is entitled Girls Just Want To Have Fun(damental Rights) and features inspirational feminist messages from female academics, interspersed with clips of the Belles singing:

[youtube https://www.youtube.com/watch?v=qmBF_4Iypos?ecver=1&w=560&h=315]

I asked their president, Jess Bollands, about feminism, music, and being a Belle.

What’s the best thing about being a Belle? Is it just like being in Pitch Perfect?
It is just like being in Pitch Perfect! The best thing is definitely the release it gives us from our work—after a long day in the library there is nothing better than spending an evening singing and dancing around, forgetting about any impending essay crises for a couple of hours!

Are you a close-knit group?
We are genuinely best friends. I think this is what makes the Belles so special; in the video I think you can see in the group shots that we are genuinely so comfortable in each other’s company. We are all each other’s biggest fans, and love spending time with each other inside and outside of rehearsal time.

Where did the idea for the music video come from?
We worked with a director, Marco Alessi, who has just completed a Masters in Film at King’s College London having previously studied English here, at Lincoln College. He knew we wanted to make a powerful statement with the video, and came up with the brilliant idea of getting academics involved.

How long did the video take to make? 
The groups as a whole only spent one day filming together, which was pretty intense! I then spent another day with our director and camera crew driving around Oxford and visiting the academics to film their scenes.

Who arranged the song?  
Amelia Gabriel arranged the song last term and we performed it at a couple of gigs, receiving great responses. Sophie Tang then penned her own rap specifically for the video, though of course it will now be a permanent feature in the arrangement.

Were there any particular highlights from filming the video?
Standing on the steps of the Rad Cam at 9am on a Sunday morning and belting out Cyndi Lauper to an audience of astonished tourists was pretty surreal! The whole experience was amazing. I personally also really enjoyed getting to meet all of the academics. After emailing back and forth for a number of weeks it was wonderful to talk to them in person about themselves and their messages.

The a capella scene at Oxford has long been dominated by all-male groups, does it mean a lot to you to have received so much acclaim for a song about empowering women?
It means so much, especially as the Belles were originally founded to combat the male-dominated Oxford a cappella scene, back in 1995! So it feels like we really have done what the original Belles set out to do: we’ve put our own stamp on the a cappella world, and celebrated other women whilst doing so, which is pretty amazing.


How does it feel to have had a shout-out from Cyndi Lauper for your cover of one of her songs?

It’s incredible to know that she has seen it—it had been the ultimate goal but we had almost given up on it happening! I hadn’t realised before very recently, but the original song was actually written by a man, Robert Hazard, and Cyndi decided to release it as an empowering statement for women. Our motivation was obviously the same, so we’re thrilled that she approves.

Out of all of the inspirational messages from the female academics in the video, which do you think is the most important, and why?
This is so difficult! All of the messages are so important. On the day of the shoot, the message that really made me quite emotional was Patricia Daley’s ‘They said she was too black to succeed’. The way she talked about her experiences so openly and cheerfully was incredible, she was so strong. Intersectional feminism is so important, so I am extremely glad that she agreed to be involved—we have had a lot of responses from young women of colour saying how much that message meant to them, which has been really moving. Another favourite of mine is probably Alice Prochaska’s ‘You can change the world’, because women can indeed change the world but often feel, or are made to feel, like they can’t. It’s also the last message in the video so I really hope that it leaves audiences believing it!

What do you think are the benefits of involvement in performing arts, and a capella specifically, for girls?
Being involved in performing arts has given me so much confidence, and a way for me to express myself that I otherwise wouldn’t have. I think that a cappella particularly is very empowering, especially if you are a girl and in an all-female group, because the world doesn’t have very high expectations of you, but you can come out and show them that actually you can achieve whatever you want to do. You can ‘break glass ceilings’!

What’s next on the horizon for the Belles?
Hmm, where does one go after achieving world domination? We’re really looking forward to another term of singing together, and are hoping to release an EP in the coming months, which will feature Girls Just Want To Have Fun(damental Rights). We have lots of other exciting plans, and we’re so grateful that the success of the video will help us on our way.

Netflix to present Orson Welles’ lost masterpiece

0

On Tuesday, Netflix dropped a bomb in the world of cinema by announcing that it had acquired the rights to Orson Welles’ unfinished movie, The Other Side of the Wind, and would finance its completion and distribution worldwide. This marks the conclusion of a saga that began in the early 1970s, marred by endless legal battles and various failed attempts to finish the film, including an online crowdfunding campaign in 2015 that raised more than £304,000.

Considered a child prodigy and genius by many, Orson Welles is a legendary figure in theatre, radio and cinema. He is acclaimed as one of the greatest film directors of all time. His life was a tale of beautiful women and excessive quantities of food, drink and tobacco, fuelled by a titan’s energy for work that produced an endless list of incomplete and aborted projects.

The Other Side of the Wind is one of those. Welles started filming the picture in 1970, with a cast list including John Huston, Peter Bogdanovich, Lili Palmer and Dennis Hopper. Yet this story of a ‘bastard director’ (in Welles’ own words) who returns to Los Angeles after a mediocre European adventure was never completed.

1970 was also the year Welles returned to Hollywood after a decade spent in Europe. The Other Side of the Wind was intended to be his comeback film, a new Citizen Kane. But despite the similarities between his own life and the incomplete film, Welles claimed there was no autobiographical basis to the plot of The Other Side of the Wind. Rather, it appears to be a satire of the New Hollywood generation of directors.

There are very high expectations for the film, which has been publicised by Netflix as a masterpiece rescued from obscurity. Josh Karp, author of the recently published book Orson Welles’s Last Movie: The Making of the Other Side of the Wind, said: “This is like finding a lost Shakespeare play… Except, no one wants to read a Shakespeare play – so this is better because it’s a movie.” Peter Bogdanovich, who acted in the film and is one of the leading figures in the quest to finish it, stated: “From what I know it was one of his best things.”

Like Citizen KaneThe Other Side of the Wind opens with the death of its lead and takes us back in time to prior events, with Welles narrating throughout. The main character Jake Hannafot is described as an authoritative figure striving for power, which seems reminiscent of George Amberson Minafer in The Magnificent Ambersons and Charles Foster Kane in Citizen Kane. As for the meta-cinematic theme of a film within a film, and the innovative black-and-white and colour montage, we are reminded of Welles’ other work from this same period, including his so-called ‘essay film’ F for Fake (1973) where the director explores the value of artistic authorship and authenticity.

With expectations so high we can only hope that Netflix will keep its promise of presenting us with Orson Welles’ last masterpiece. After all, two versions of Welles’ unfinished Don Quixote were released in 1992 and 2008 respectively, and both offerings served to disappoint the critics.

However, at the time of his death in 1985, Welles had already edited 40 minutes of The Other Side of the Wind. Furthermore, the team behind its restoration include numerous people from the original project, including Peter Bogdanovich and Frank Marshall. This surely bodes well for the upcoming finished version.

Netflix’s acquisition of a film, that has remained until now a ‘lost masterpiece’, is a milestone in the company’s effort to increase their output of feature films, and draws them first blood in a long running battle against competing streaming services. As yet, the entertainment company has given no precise date for the film’s release. However, for those who would prefer watching The Other Side of the Wind on the big screen (and I am one of them), Netflix has announced a 35 mm version for cinema release.

Chuck Berry – “One of the greats”

0

In one of his most famous songs, Berry told Beethoven to ‘roll over’ in his grave at the shocking new sound he was spearheading— and you might wonder whether he would have done. After all, if alien life-forms ever intercept the Voyager spacecraft and are somehow able to play the “golden record” which is contained onboard, they’ll be surprised to find one song which provides a rather jarring stylistic break from the classical music on the rest of the disc: Berry’s ‘Johnny B. Goode’ was selected in 1977 to represent rock music on behalf of the world.

The influence of Berry’s sound is proven by the fact that so many of his songs have been famously covered: ‘Roll Over Beethoven’ was even considered as a potential name of a band made up of four Liverpudlian lads, and while it wasn’t chosen the Beatles went on to cover Berry extensively, especially in their early career.

Indeed, for an artist who was so often covered himself, it is perhaps ironic that his only number one song in America was itself a cover: ‘My Ding-A-Ling’, a song whose double-entendre subject matter caused so much scandal and was the centre of a censorship battle. For a man whose liberating music marked the age of the teenager, Berry was certainly rebellious in spirit.

All this might seem remarkable in any case, but crucial to Berry’s legacy is his racial identity—a black man growing up under Jim Crow laws, he was sent to prison three times over his career, and under dubious circumstances—on one occasion he was jailed after being sighted kissing a white girl (and subsequently a mob formed) in 1959. Despite the system being rigged against him, Berry managed not only to break through to great success, but in doing so defied the racial politics a step forward. It’s worth noting that the teenage years of a generation of white Americans were soundtracked by a black man—an icon and an idol.

For the ages, apart from the inclusion of the Voyager, Berry’s longstanding legacy is best seen in his crucial role in two of the most iconic films of the late 20th century. In Back to the Future, Martin J. Fox’s Marty McFly plays what is surely the guitar riff, from ‘Johnny B. Goode’ for anyone learning guitar. In Pulp Fiction, as Vincent Vega and Mia Wallace take to the floor at Jack Rabbit Slim’s, it’s ‘Nobody Can Tell’ which plays as they start to boogie.

Clearly, Berry was one of the greats.