EDITORIAL indigo@palatinate.org.uk
November: the month of womxn’s music Indigo Editor Honor Douglas explores this edition’s content in relation to the upcoming Taylor Swift and Adele albums
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he next two weeks will see an influx of female empowerment in the music industry. Taylor Swift regains control of her own work by rerecording her own ‘version’ of the masters of her pre-Lover albums. Her new album, Red (Taylor’s version) is out on the 12th of November, closely followed on the 19th of November by Adele’s album 30 which explores her divorce as she would explain it to her son. The female centred approach to both of their albums is in line with Creative Writing’s excerpts on page 3 as the contributors mock women’s presentation in film, as written by men. These albums have been delayed due to the impact of Covid-19, a subject which is tackled both in Travel on page 6 where a contributor’s journey to their home country feels long-awaited, and in Books as a contributor discusses learning to travel through novels during the pandemic. The impact of Covid-19 on mental health has been immense, and Features tackles hard-hitting articles on pages 12 and 13 involving how to endure life with social anxiety and the importance of facilities such as St Margaret’s Centre. The power that female artists such as Swift and Adele hold has been made clear as the public desperately awaits their album releases. In anticipation of Swift’s next ‘version’, a month ago Babylon held a Taylor Swift night, which saw the club full of loyal Swifties. On page 15, Music examines the value of such albums in clubs compared to the ‘classic’ club music. To enjoy such club music, many choose to indulge in alcohol, and Food and Drink on page 10 assess the value of such a choice at university. To my generation, Adele and Taylor Swift are icons, as Diana was to the generation before. The new film about her life, Spencer, has been controversial to say the least. Film and TV on page 14 determine the value of Spencer as a piece of historical ‘accuracy’, while Style on page 7 reminisce on Diana’s place as a key figure in fashion history.
As the Stage contributors on pages 4 and 5 describe the ten plays readers should see in a lifetime, Swift and Adele’s music would certainly be on my list of albums everyone should listen to before their end. Their strengths as singer-songwriters are so impressive, and on page 11 we hear from singersongwriter of the future, Daisy Harris in Interview. Aside from enjoying Taylor Swift’s new album, this weekend the Durham students and public can enjoy the long awaited Lumiere festival. Thanks to Visual Arts’ ‘what’s on’ guide on pages 8 and 9, the festival line up will be easier to access. We hope that you enjoy this edition of Indigo, and the iconic albums to come!
Artwork of the week by Rosie Bromiley
CONTENT
TEAM
CONTACT
Creative Writing (page 3), Stage (pages 4 and 5), Travel (page 6), Style (page 7), Visual Arts (pages 8 and 9), Food and Drink (page 10), Interview (page 11), Features (pages 12 and 13), Film and TV (page 14), Music (page 15), Books (page 16).
Cerys Edwards, Honor Douglas, Adeline Zhao, Millie Stott, Ella Al-Khalil Coyle, Ben Smart, Jodie Sale, Gracie Linthwaite, Holly Downes, Grace Jessop, Anna Johns, Nicole Wu, Christian Bland, Nia Kile, Josie Lockwood, Emerson Shams, Stephanie Ormond, Isobel Tighe, Miriam Mitchell, Charlotte Grimwade, Grace Marshall, , Katya Davisson, Annabelle Bulag, Imi Marchant and Samuel Lopes.
www.palatinate.org.uk
Indigo logo: Adeline Zhao Cover image: Adeline Zhao
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Follow our socials Facebook: www.facebook.com/palindigo Twitter and Instagram: @indigodurham Have a question, comment or an article idea? Email us at indigo@palatinate.org.uk or any Indigo section email address
Image credits (from left): Adeline Zhao; Rosie Bromiley
CREATIVE WRITING creative.writing@palatinate.org.uk
Women in Film: By Men Creative Writing Editor Millicent Stott and Rachel Shemwell Rostron explore female film tropes and reclaim the narrative power. Manic pixie dream girl Millicent Stott
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want distance. I want you to devour me. I want to climb into your skin and rest there softly between your ribs. Rub my cheeks against your marrow. I want time to find myself. I want to give myself up to you like a doll, like a pet. Dress me up. Take my body. I want to be your muse, hot, sweet, red hair, my lipgloss melting into the crook of your neck. Tell me I belong to you. Tell me I’m not like other girls. Oh, only your girl, my scrunchies and empty notebooks and short skirts and blusher, for you. For you. Tell me I’m broken, fucked up, wasted, gone too far this time. You love it. Now write about me. Paint me. Fill me. Ravish me. Tell me I taste like strawberries. I am bubblegum pink. I am on fire. I exist for you. I worship you, girlish hand stretched out to bite the one that feeds me. Nourish me. Know me. Consume me.
Through my author, I am undone. Rachel Shemwell Rostron
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he sight of you tapping that pen against your teeth is enough for me to want to pry it from your hands and draw it along your neck. Nice and slow, careful and precise so that you could feel the true length of time, feel how m u c h of your life can
Image credits: Anna Kuptsova
be wasted in a few short lines. Not that you would ever let me do such a thing, my hands are far too dainty in your words for anything in them to ever resemble a weapon. I can hear the thoughts rattling around in your mind, I taste your pride on my tongue; I can feel it from all the way in here. ‘She came to a stop at the half-way point, panting heavily, her chest heaving back and forth with every breath.’ – God, how I want to scream, how the inability to do so in your presence makes my stomach churn; my eyes water with rage, and yet you are proud. Your pen is hovering and I’m wringing my hands, what godforsaken thing will you force upon me next? My boobs were so heavy, I couldn’t possibly manage the stairs all in one go, and when I stopped running, my boobs bounced boobily so that everyone knew I had boobs. There, did I get it right? Or has your imagination finally peaked your realization that women have other qualities? Maybe you’ll focus on my thighs next, or my ass; I’m sure you’ll do a full body run down before you get to the description of the murderer at my heels. If only I could get to that pen. The things I could do as author of my own fate. I could get myself up, tear down that hall and escape out the door before he even turned the corner. I’m fast, good in a crisis, I mean, have you ever met a woman that wasn’t? Except for the ones written by you of course. ‘She clambered back up, her heels clicking against the laminate floors as she ran. ‘Oh no,’ she thought “I hope he can’t hear.”’ – Heels? Are you fucking kidding me? The way you see the world is a truly laughable feet. I can take them off; I can use them as a weapon. Listen to me, if I hid here, behind this locker he wouldn’t be able to see me, I could leave the door wide open, so he thought I’d left - I could even leave a stray shoe on the ground like Cinderella if you like - I could get him right next to me, kick him behind the knee so he fell to the floor, shove that heel into his eye, his neck, anything. I could get out; I could win. ‘She fell once more, so violently that her skirt rode up as she hit the ground. There he was, across the room. He had found her, there was little hope for her now’ – There is time. There’s a door to my left, I could go through it, barricade it to hold him off. Maybe there’s a window in there; you could give me one. I could make it into the street, find a phone and call for help – he can’t chase me forever. I could make it until the morning; I have it in me, I swear. ‘He walked towards her, and her blood curdled with every step he took. His boots rattled against the floor, and she could feel the impact from where she lay. There had to be a way out. She looked around, concerned only with finding an exit, and not the fact that her clothes had torn on the impact, leaving her bare and exposed.’ – There’s a door. ‘She could hear him; every step he took felt like the click of a clock counting down. Come on, come on….’ – I see the door. I could get to the door. ‘She found an air vent to her left, an escape! Maybe she could get out after all. She clambered to her feet and began prying at the grate. It came loose in her hands. Yes, yes! She could get out. She could do it.’ – But I wouldn’t. This plan of yours will kill me, you planned it like that, didn’t you? I can taste it again, your pride. I will die with the reminisce of your bitter taste in my throat, oh, if only I could shove my disdain down yours. The attractive plot device meets her gruesome end, classic entertainment for casual readers and amateur writers…how abhorrently cliché; how perfect, and what little I could do to stop it. In your hands, I am undone.
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STAGE stage@palatinate.org.uk
10 plays to see before you die Recommendations to put on your bucket list, a collaborative list from our contributors
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or this edition, here at stage, we bring you the fruit of an ongoing collaboration of a number of our writers to list some of their all time favorutie plays and shows. We hope you agree, or are inspired to some new reading or viewing...
By Alex Davies: 1.
Hamlet: by William Shakespeare
This inclusion wasn’t intended to sound pretentious or boring. There’s a reason in 1953 Richard Burton almost lost a $7 million contract because he opted to play the Prince of Denmark in the dank West End rather than shoot ‘pictures’ in glistening Hollywood. There’s a reason so many lines have seeped into the public vernacular, despite having been written in early modern English. To go or not to go, isn’t really a question. I was fortunate enough to see Ian McKellen’s
performance at the Windsor Theatre in the Summer. After the first ten minutes, you don’t see an eighty-two-year-old man, you see a petulant, smart, depressive who captures everything good and bad about being human. The soliloquys are enchanting, the protagonist is captivating, and the plot builds to almost the perfect tragic conclusion. Some plays are part of the canon for a reason.
I’ve never seen a film or stage production with such powerful chemistry across the cast 2.
The History Boys by Alan Bennet
Everything about this play is clever: the characters, the wit, the plot, the homoerotic themes, even the classroom debates about history. Bennett manages to write a play with a political message about a group of young working-class pupils at a school in Sheffield battling for places at Oxford without detracting from the fullness of the characters or strangling the audience’s enjoyment of the performance. This is an achievement in British theatre. Naturally, this play relies on its characters as the principal vehicle for the entertainment rather than the plot: Posner’s infatuation with Dakin, the comedic interjections of Lockwood, Scripps and Timms and the pedagogical tussle between Mr Irwin (young and pragmatic) and Hector (elderly and flamboyant) are of particular note. I’d recommend watching the film from 2007, directed by Nicholas Hytner no less, because the cast (including Dominic Miller, James Corden and Frances De La Tour) had performed around the world as a tight-knit cohort for two and a half years prior to the filming. I’ve never seen a film or stage production with such powerful chemistry across the main cast.
As an audience member, you bind yourself to the most intruiging personalities 3.
Under Milk Wood by Dylan Thomas
Dead before his time. Good thing Dylan Thomas wrote this “play for voices”. The play follows a Welsh town and its characters, in every sense of the word, for a day.
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There is no discernible plot. As an audience member, you bind yourself to the most intriguing personalities. They may include Mr Pugh, who fantasises about poisoning his overbearing wife with “weedkiller biscuits”, the lovers of Myfanwy Price and Mr Mog Edwards who communicate in letters and their dreams, and, of course, blind Captain Cat and his melancholic memories of dead sailors. Under Milk Wood has an ear for a kind of cosy, melodic poetry which captures one’s attention and never lets it go. Even Shakespeare can be frustrating every now and then with his rambling metaphors about “blushing pilgrims” or never-ending “tomorrows”. Thomas keeps things down to Earth (or in this case Swansea): “Wood limping invisible down to the sloeblack, slow, black, crowblack, fish-boat-bobbing-sea.” Michael Sheen’s performance and the production at the National Theatre earlier this year lived up to Dylan Thomas’ poetry. It transports you to a land of words and people so rich you leave in the daze of South Walian fantasy.
By Imogen Marchant: 4.
Beginning by David Eldridge
I was seventeen when I saw David Eldridge’s Beginning at the Dorfman, and it has stayed with me ever since. It is a masterclass in smallscale, high-magnitude theatre, so sweet and delicate that too heavy a touch would break it. It is also hilarious, heart-breaking and tentative, and entirely apt for a world now waking up to reconnecting. It is a play that stands up to reading - a viewing would be wonderful, but even on paper, it fizzes with brilliance.
It is bold, brave and gritty ambitious... with harsh realism balanced with surreal reimaginings of the process of recovering from addiction
Image credit (from left): Max Muselman via Unsplash, Lesley Grenne via Flickr
STAGE stage@palatinate.org.uk 5. People, Places and Things by Duncan Macmillan At the other end of the scale, there is People, Places and Things. Macmillan’s gutsy work will try to rip your insides out with its refusal to compromise and then put them back in with such tenderness that you’ll almost want to thank it. It is bold, brave and gritty - ambitious in scope, scale and content, with harsh realism balanced with surreal reimaginings of the process of recovering from addiction.
By Ben Willows: 6.
Constellations by Nick Payne
But it never does. The play approaches the minutiae of the human heart with such delicacy and warmth that it is impossible not to fall in love with the characters and the play. It’s unequivocally universal - to the point that its recent revival was able to ignore the original casting of a heterosexual white couple in their thirties (such an underrepresented group), and instead showed different portrayals of love, whether the older couple of Peter Capaldi and Zoë Wanamaker or the young black couple of Sheila Atim and Ivanno Jeremiah. The production I saw had Omari Douglas and Russell Tovey as an interracial gay couple, and I now cannot see the play as anything other than queer. Constellations spans multiple universes, and in doing so, touches all of our hearts.
By Jodie Sale: 7. Her Naked Skin by Rebecca Lenkiewicz
Constellations is a love story. It’s far more than that, of course. It deals with everything from quantum physics to the waltz. But at its fragile, beating heart, it is a love story.The play tells the story of Roland and Marianne, a beekeeper and a cosmologist, and the faltering development of their relationship.
The play approaches the minutiae of the human heart with such delicacy and warmth that it is impossible not to fall in love with the characters and the play Reflecting Marianne’s interest in multiple universes, the play is told through the ingenious conceit of displaying different timelines; in the opening meet-cute, we see multiple failed attempts of flirting, before we find a timeline where both are available and interested in a relationship. While this structure is unique and provides pitch perfect humour, there is a risk that it could overwhelm the central love story.
Her Naked Skin was the first full length play to be performed on the Olivier stage that was written by a woman. Set when the Suffragette Movement was reaching its climax, the play rocks between the personal and political as its central characters push for their emancipation. Placing powerful themes of female oppression and violence at its core, and portraying female lesbian suffragettes in a nuanced fashion and at centre stage – this play deserves a place on this list. 8. A Streetcar Named Desire by Tennesse Williams. In my opinion a masterpiece, a classic, that holds such a power over its audiences from its opening until its end. Set in New Orleans in the 1940s, this modern tragedy beautifully combines illusion with reality; Williams’ writing is both poetry and theatre. His central characters are flawed to the core. Blanche is both victim and victimiser. We watch her world crumble in steamy New Orleans amongst the dynamism and unforgiving nature of her brother-in-law. It is morally ambiguous, radically explicit for its time, and definitely a play to put on your bucket list. 9.
Raisin in the Sun by Lorraine Hansberry
A breakthrough moment in history for representations of blackness on the stage, Raisin in the Sun is still pertinent in discussions of black identity today. Staged in the midst of the Civil Rights movement, Hansberry takes us into the
Image credit (from left): The Lowry via Flickr, Alexis Orloff via Flickr
Younger family apartment (cramped, claustrophobic and oppressive) and in Arthur Miller style exposes the generational tension between Mama and her children. Deeply concerned with the past whilst seeking to create a new age for the next generation; this play reveals the trauma of the black experience before its audiences.
By Emerson Shams: 10. Gentleman’s Guide to Love and Murder by Robert L. Freedman, the music and lyrics by Steven Lutvak
The show gives a mixed vibe between the gore of Lemony Snicket and the humour of Oscar Wilde to create a masterfully mad performance A Gentleman’s Guide to Love and Murder is by far the best broadway production I’ve ever seen in my life. While a little lesser known, the comedic musical by Steven Lutvak and Robert L. Freedman, it is worth much more recognition. The show gives a mixed vibe between the gore of Liminey Snicket and the humour of Oscar Wilde to create a masterfully mad performance that takes you through the deaths of many artitocratic people at the hands of a distant relative who is determined to become an Earl, due to ‘love’. I wish there was a movie but, alas, I’ve not seen the Tony winning production since 2015. But even then, when I think of all of the shows I’ve read, seen, and been in over my life, nothing stands out as much as A Gentleman’s Guide to Love and Murder. Thursday, 11 November 2021
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TRAVEL travel@palatinate.org.uk
Domestic flights and Arabian nights Food and Drinks Editor, Emerson Shams, reminiscines on their home-country travels
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hortly after the cornavirus pandmemic hit, I had gone home to Saudi for Easter holidays with the hope of being back for the final term, however that never happened. Instead, I had to spend a whole eighteen months at home for the first time since I had been in secondary school. University from afar is hard enough on its own, but I felt so isolated from the Durham network comprised of friends, societies, and physical access to the library during the coronavirus pandemic. I felt disparaged, so much so that my family had begun to notice. I had always been a wild spirit who loved to travel too much for my own good. It came, mostly, from growing up on the edge of everywhere, one foot in each culture. But the flip side of that is that I never truly got to connect with my cultures.
I never truly got to connect with my cultures By the time September 2020 had rolled around, I had been in Jeddah for six months and Saudi had coronavirus under control, which meant no more lockdowns, but to keep things safe, they also seized all international travel for citizens. This had been a hard blow. With them initially saying travel would be open, only for it close again, I felt more constrained than ever. I am grateful that my family’s response was to finally travel beyond our region and see more of the country we are from, Jeddah. Over the year I ended up travelling to all four corners of the cities and regions of Gizan, Abha, Hail, Qaseem, Khobar/Dammam, and Tabouk. I stood on mountains, saw oases, swam in the coral reefs of the Red Sea. I learned of all the various cultures of the land. I experienced different dialects and learned the different histories of the different tribes. I roamed the diverse landscapes that, at times, took me for a surprise. I tried foods that were so alike my own and so distant too. I felt like I had been on the adventure of a lifetime, but in truth, I was home.
I learned all of the various cultures of the land...different dialects and histories 6
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I felt like I had been on an adventure of a lifetime, but in truth, I was home
In my home city, English is commonly spoken by everyone, but as I travelled out more, I had to really grasp using Arabic to get by. And as my language skills improved, as did my connection to the land.
And as my language skills improved, so did my connection to the land
The year allowed me to connect with my culture, my language, and my people more than I ever could have before. Even the exploration of my home city elevated my understanding. I travelled to neighbourhoods I hadn’t gone to before, drove up to neighbouring villages to experience nature and walked around the old neighbourhoods where the city’s foundations laid. Even my relationship with my father strengthened through my travels.
There was so much about my travels which were beyond amazing, but if I had to choose my favourite experience, it would be getting to go dune drifting. The region I am from does not typically have picturesque sand mounds, so I was excited to see them first-hand. They are also very soft to lay in, and when my dune buggy got stranded on the cool winter day I was out, I decided to take a nap in the sand until help arrived. It was an ethereal experience that I hope to experience again. But the actual drifting was more fun than anything I have experienced in my life. You move so fast going up and down and, on your side, as you speed across the landscape. It was amazing. Now, I am back at university, I am able to travel the world again. But I need to thank the coronavirus pandemic year for giving me the chance to explore my home. I look forward to travelling to see more cities which I am yet to go to as well in the future. Image credits: Emerson Shams
STYLE style@palatinate.org.uk
Diana in vogue: how Gen Z are preserving the fashion legacy of the People’s Princess Caitlin Ball examines Diana’s legacy in the fashion world
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ince the mid twentieth century, stepping into the royal family has become synonymous with stepping into the public eye, and arguably nobody- before or since- has weathered the vehemence of its glare quite like Princess Diana. The sheer influx of Diana-based media we have seen in recent months- including both the fourth season of The Crown and the upcoming film Spencer (starring Kristen Stewart as the young royal)- is but testament to the endurance of her infamous legacy and icon status. While this icon status is definitely a product of her vast portfolio of humanitarian work and overtly progressive social attitude (which was profoundly rare to see in a woman of her position at that time), the influence of her fashion sense boasts an unparalleled longevity. So much so that designers very much rooted in urban 21st century fashion still laud her as their muse (for proof beyond doubt see Virgil Abloh’s spring/summer 2018 collection for Off-White). Widely deemed ‘the most photographed woman in the world’, the Princess’ paparazzi pictures have also been plastering the Pinterests and Instagram explore pages of teenagers for years and have now become a boundless source of inspiration for Generation Z - the vast majority of whom weren’t even born during her lifetime. On social media, recent obsessions with the candid and the spontaneous coincide with Diana’s reputation as effortlessly photogenic. Most popular with the younger generation at present are pictures snapped post-workout, where she generally opts for plain cycling shorts and sweatshirt combos that are now considered staples in the majority of Gen Z wardrobes. Iconic - but accessible. Diana’s departure from the frilly, puffy and boxy silhouettes of late 70s and early 80s fashion into the sleek, sophisticated and dignified silhouettes of the mid 80s to late 90s marked her transition from girlhood to womanhood, from timidity to self-assuredness in her role as a public figure. And since her death, a growing understanding of some of the more unhappy and tumultuous circumstances of Diana’s personal life has meant Image credits: Anna Kuptsova
Gen Z are now viewing her fashion choices as evoking dignity and steadfastness in the face of adversity. Take the infamous ‘Revenge Dress’, for example - a chic black minidress by Greek designer Christina Stambolian which Diana wore in 1994, on the same day a documentary aired in which her husband publicly confessed to adulterous affairs during their marriage. Arguably it is this attitude that young people, increasingly more attuned to the push for self-confidence and expression online, now aspire to. In a world where mental health has become a global epidemic, the drive to ‘be kind’ and thoughtful among Gen Z is also stronger than ever, and Diana’s remarkable self-awareness when it came to the impact of her clothing meant the worlds of humanitarian charity work and fashion were, in her eyes, never far apart. If she were visiting a children’s hospital, she made sure to wear vivid colours and ‘jangly’ jewellery so that they might be entertained by it. If she were visiting the blind, she would wear velvet or other uniquely textured fabric to encourage sensory stimulation through touch as opposed to sight.
There’s a reason Diana is called the People’s Princess Refusing to follow royal protocol by discarding her gloves and prioritising skinto-skin contact when greeting and comforting those involved with the charities she worked with also made a profound social statement- especially in regards to the stigma surrounding the AIDs crisis throughout the 1980s. Nowadays, when celebrity clothing sometimes appears to lack profound meaning and purpose, existing purely for aesthetic value, it is understandable that Gen Z would still look to idolise a woman who, in the words of Guardian fashion journalist Jess Cartner-Morley, ‘wield[ed] her glamour like a superpower’. There’s a reason Diana is called the People’s Princess- and not just for the people of the late 20th century. Her personal values and distinctly individual flair for fashion- which only skyrocketed further once the restrictive royal corset she had donned for so long began to loosen- strikes chords with Gen Z in a way it hasn’t for previous generations. And I think I can say with a fair degree of certainty that her influence won’t be lost on future generations either. The only question is: in what way will her style legacy be interpreted next? Thursday, 11 November 2021
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VISUAL ARTS visual.arts@palatinate.org.uk
What’s on at Lumiere Our contributors guide you through the return of the UK’s leading light festival
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ust as Durham’s chilly winter begins to set in and the old cobbled streets grow cold and dark – the city is ready to come alive as soon as preparations are complete for the return of the United Kingdom’s largest light festival, Lumiere. Running from Thursday 18th to Sunday 21st November, there will be a staggering 37 unique artworks on display at this nationally-commended experience. The program promises a spectacle of pure colour and sound: each artwork having the capacity to offer spirit-enlivening and thought-provoking insights to an audience. For the first time in its 12-year history, Lumiere will also be venturing outside the boundaries of Durham’s centre to display six artworks around the wider county as ‘Marks in the Landscape’ – which should provide an exciting opportunity to explore sightseeing spots outside of the city. With so much to see, at Visual Arts we have collated our picks for the must-see artworks at this year’s festival.
‘Scattered Light’ by Jim Campbell
Exhibit number: 26 Location: St Mary’s College
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ighting up one of Durham University’s very own colleges is American new media artist, Jim Campbell’s piece ‘Scattered Light’. This remarkable work has previously graced festivals in the United States, Australia and Hong Kong. It is composed of almost 1,600 LEDs encased in standard light bulbs and suspended in a huge grid measuring 80 feet wide, 20 feet high and 15 feet deep. Viewers are prompted to move through and within the light casing, so as to explore different vantage points. Indeed, from within the exhibit, the lights hang aesthetically in supposedly random flashing sequences. It is not until you move backward to view the grid of lights at a two dimensional perspective, that the image of huge human-shaped shadows are depicted walking back and forth through the lights – a design based on a video of commuters in Grand Central Station.
A spectacle of pure colour and sound Campbell encourages a contrast between the calmness of the playful scattered lights illuminating St Mary’s College with images of bustling urban traffic of commuters hidden within the lights. One cannot help but relate this to the student experience in the beautiful, yet increasingly busy city of Durham. Nicole Wu
‘Apollo 50’ by Mader Wiermann
Exhibit number: 1 Location: Pasmore Pavilion, Sunny Blunts Estate, Peterlee
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ne of the ‘Marks in the Landscape’ pieces is ‘Apollo 50’, a work that will extend this year’s Lumiere festival outside of Durham City for the first time in history. The piece, situated in Peterlee, was first commissioned and displayed in 2019 to commemorate 50 years of the iconic Brutalist structure, Victor Pasmore’s Apollo Pavilion. The installation by Berlin-based artist, Mader Wiermann, consists of video-mapped light sequence, accompanied by a gentle soundscape that completely reinvents Pasmore’s original design. The light sequence adopts features of black and white illusion which quickly revert into huge blocks of colour or gentle pulsing waves of lines and curves.
The artwork holds you in this mesmerised state While the artwork holds you in this mesmerised state, the artists guide you back to reality with fleeting images of people within the light sequence who seem to be walking through the projection by accident. ‘Apollo 50’ is certainly worthy of a visit and offers an opportunity to be taken off the well-beaten festival track. Nicole Wu 8
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Image credit: Lumiere
VISUAL ARTS visual.arts@palatinate.org.uk
‘When Today Makes Yesterday Tomorrow’ by Dominik Lejman
Exhibit number: 21 Location: Clayport Library Wall, Walkergate
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fascinating exhibit featuring at this year’s Lumiere festival is ‘When Today Makes Yesterday Tomorrow’ by Polish artist Dominik Lejman. This previously unused video mural was rediscovered by Lejman whilst digging through his archives. Initially meant for a 2008 solo show at the Atlas Sztuki Gallery, when looking back at this footage its social significance becomes much more clear.
Looking back ... its social significance becomes much more clear Depicting grainy silhouettes of people greeting one another, either by hugging or shaking hands, it has an even greater poignance in light of the restrictions imposed by the pandemic.
‘Omnipresence’ by Iregular
Exhibit number: 20 Location: Walkergate
Promises ... an insight into anonymity
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mmediately captivating is Daniel Iregui’s ‘Omnipresence’, an interactive exhibition which takes its audience down a tunnel of mirrors. At heart, it’s all beautifully simple, only showcasing a ‘mirror in front of a mirror’. However, the underlying meaning is more intricate. Emphasising technology’s ability to curate our digital persona, it uses video feedback to freeze your reflection in time.
At heart, it’s all beautifully simple This digital infinity mirror then duplicates and distorts the viewer’s virtual reflection, interrupting perceptions of time and blurring identities. I am looking forward to experiencing this technological masterpiece, that promises to take its audience down a journey of disorientation and mesmerisation. Holly Downes Image credit: Lumiere
Resembling surveillance footage, this installation will be shown on the Clayport Library wall in Walkergate and promises to offer an insight into anonymity, human interaction and technology. Charlotte Grimwade
‘Hymn to the Big Wheel’ by Liz West
Exhibit number: 6 Location: Ushaw Historic House
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iz West takes her audience on a journey across the colour spectrum with this extremely visual exhibit. Set within the tranquil Ushaw gardens, visitors can observe the tinted reflections of the beautiful country house as they walk around the structure. The jewel-coloured glass means viewers can see different colourways and shadows mixing within the installation — it looks certain to be one of the most immersive experiences of this year’s Lumiere.
A journey across the colour spectrum By challenging how we expect to experience reality, West blurs our mental categories and offers a very different, very aesthetically pleasing, way of viewing the world. ‘Hymn to the Big Wheel’ then looks set to be one of the most thought-provoking and original exhibits on display — it’s definitely worth checking out. Christian Bland Thursday, 11 November 2021
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FOOD AND DRINK food@palatinate.org.uk
Alcohol at university: the perks, the pressures, and the perils
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Chloe Codling weighs up the value of drinking culture at university
Editor’s Picks
s November marks Alcohol Awareness Week, I encourage you to ask yourself this question – what role does alcohol play in your social life? This week serves to draw attention towards the drawbacks and benefits of sensible alcohol consumption, which is especially important with regards to university life, in which drinking alcohol plays a huge role in student culture. Although there shouldn’t be any pressure upon the individual to drink if they choose not to, university culture often creates the sense of being an outsider if you choose to remain sober. Coming from the perspective of somebody who does drink alcohol, but perhaps not as frequently and heavily as other students, I am going to explore both sides of alcohol consumption – the benefits I gain from it, but also the negative aspects that I have experienced. Not unlike most people, I find the main benefit of drinking to be the opportunities it presents to my social life. Going to the pub or on a night out is an easy and convenient way to socialise with people. Not only does consuming alcohol often help to ease nervousness in social situations, but it provides a common topic of conversation that all drinkers can engage in. Questions such as ‘what are you drinking tonight?’ and ‘how much have you had already?’ often serve as ice-breakers amongst people getting to know each other. Nights out form a large part of social opportunities at university – for example, most sporting society socials involve nights of drinking, such as the Durham-famous Players Wednesday. Drinking often makes people more chatty or outgoing, which is a big advantage in often unfamiliar social situations such as these. However, the
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boundary between enjoyment and over-consumption is frequently very fragile, especially for inexperienced drinkers who don’t know their limits. It is very important to be around people who you know and trust if you’re intending to get very drunk, so you know that you’ll get home safe at the end of the night. Particularly given the recently increased rates of spiking, being aware of what you’re doing is evermore important. This naturally begs the question of how easy it would be to go on a night out or to the pub without actually consuming alcohol. For many people, this is a viable option that works well for them – it enables them to go out and be social, without experiencing the drawbacks of drinking. Yet, I have heard from non-drinking friends that even if you’re present in a social situation, you can still feel alienated. People talking excessively about drinking, which you can’t relate to, can make you feel like an outsider. Similarly, if all of your friends are drunk and you’re the only sober person there, the enjoyment of the situation can be dramatically reduced. However, it is important to remember that there are often events held by societies or the university that don’t involve drinking at all and that might appeal more to your tastes, often involving art, film, sport or music. But if you’re a drinker, don’t forget to invite your non-drinking friends on a night out anyway – they may want to come regardless. There is also a lot of social pressure with regards to alcohol amongst people who do drink – encouraging people to ‘chop’ their drinks, take shots or partake in drinking games can be fun, but can also put pressure on people who really don’t want to take part. Therefore, it’s all about knowing your limits and saying no when you’re not feeling up to it – if they are truly your friends, they shouldn’t mind at all. Drinking heavily on consecutive days can also have an immensely negative impact upon your mental health. When my friends and I were going out a lot last year after exams, I often felt a lack of fulfilment in life, as my nights were spent going out and most of my days recovering. Nights out are so much more fun when you’re feeling up to it and have the other elements of your life under control too. So, in summary – know your limits, have trustworthy people around you when drinking, don’t feel pressured to do anything you don’t want to do, but most importantly – have fun!
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Image credit: Rosie Bromiley (top), Emerson Shams (bottom images)
INTERVIEW indigo.interview@palatinate.org.uk
Making Heartbreak at Home: Daisy Harris Interview Editor Steph Ormond speaks to Daisy Harris about her newest single, ‘A24’
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longside her studies in Drama at the University of Manchester, Daisy Harris has lovingly and long been involved in song-writing, instrumentalism, and producing music at home since her early teenage years growing up in Scotland. In an online conversation with Interview, Harris reflects on her love for music, sources of inspiration, and her latest song, ‘A24’ which dwells on memory and heartbreak in the story of arduous early relationships. “I make music from a variety of genres, but I would say that the main one is shoegaze-infused pop, inspired by artists from the 90s that I grew up listening to. Essentially, I write, record, and produce my own stuff - so that’s kind of my vibe. When I was 14, I moved to a new school and all my friends hung out in practice rooms. Until that point, I had learned a couple of instruments through music lessons but thought that I naturally wasn’t good at it since I still couldn’t read music after five years. But when I was hanging out with my friends, one of them turned out to be a selftaught guitarist and suggested that I try it out. I did so and picked it up quite easily so I began writing songs at that age.” Not only does Harris play the guitar, but she is also a multi-instrumentalist. She also plays the banjo and ukelele along with being a singer. “A lot of my songs are from my early teens so, I was a completely different person at 14 and 15 than I am now. I just got hooked, and I’ve been doing it ever since. I would say that my songs are nostalgic for me personally. They appeal to a sense of music that I found people weren’t making so much anymore. There are many lesser-known artists who use a 90s style sound that we don’t talk about very much such as The Sundays and Mazzy Star. In my opinion, they have had a massive influence on today’s music. So, I primarily draw more from those 90s influences.” Image credits: Anna Kuptsova
Unsurprisingly, Harris does not shy away from implying the state of her teenage years and using the 90s sounds as inspiration for ‘A24’. “It is a heartbreak song - about a time in my life when I was sad about someone, but I wanted it to be fun. When I told stories about that time, I was made them funny and reflected on when I was a dramatic teenager. Using this, I wondered how I could put that kind of self-awareness into a song. Afterwards, I began listening to even more Alanis Morrissette and Natasha Bedingfield - these female artists who had made hilarious ‘tongue and cheek’ songs. So I wanted to make a song that sounded like that. I took some existing melodies that I was working on along with these artists to make this jangly 90s to early-2000s sounding piece - put it all together? I got ‘A24’.” Usually, the phrase ‘A24’ is associated with the independent entertainment company, most wellknown for its churning out of unique indie films. Likewise, Harris explains: “Since I also study films, I sometimes wonder whenever I watch an A24 film, do I actually like this or do I appreciate their works because I feel as if I should? Subsequently, this reflects the relationship dilemma that I wrote the song about. This idea of do I like this person or do I like the version that they are presenting to me? Are these films good or do they have numerous things within them that we are conditioned as drama and film students to believe are the best qualities within films overall?” These questions have been the basis of my song.” Accompanying Daisy Harris’s newest single is a short music video seemingly filled with ironic quips and cynicism relating to the art of film-mak-
It is a heartbreak song - about a time in my life when I was sad about someone, but I wanted it to be fun ing. “For the video, I wished to do a homage to movie magic - what you see on screen versus the reality behind it. Student film-making is one of my favourite things in the entire world. The way that people will make massively complicated rigs out of bedsheets and they can end up with a shot that is extremely impressive, yet you can almost laugh at how simple the process actually was to get it. For example, at the end of the video, you see me passionately screaming into the wind, but it soon pans out to be me holding a hairdryer to my face. It links to this idea of illusion versus reality - the creation of something great when its processes are fraudulent.” “I’m so busy with uni at the moment but I would absolutely love to do more live music next year. Perhaps some more open mics and openers similar to ones that I have done in Manchester. Plus when I was in Scotland, I did a bunch of stuff in Glasgow and I hope that soon I can do way more. So keep your ears open on my socials.” You can find Daisy Harris on Instagram @daisyharrisuk. Thursday, 11 November 2021
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FEATURES features@palatinate.org.uk
Living with social anxiety Admist the return to ‘normal’, Eunice Wu discusses her journey with social anxiety
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iving in a world that celebrated extroversion, I’ve always felt like I wasn’t enough. It didn’t help that “speak up more in class” was the comment that most frequently appeared on my report cards, or that I was always deemed ‘the quiet kid.’ It made me loathe my introverted nature, and eventually I started fearing social situations altogether. The feeling gnawed at me, and I began to experience involuntary tremors whenever I was put under the spotlight. I decided to seek help and was diagnosed with social anxiety – this was three years ago. I’ve found that focusing your attention on the present helps. Personally, my anxiety manifests in concerns about the future and my mind often hyperbolises the possible impacts of my current actions. Focus on your breathing, on the rhythm of your heartbeat, on being here in this moment. Fixate on a focal point from your physical surroundings, whether it be counting your own fingers or the CO2 monitors in the lecture theatre. If you’re not provoked by specific stimuli or are experiencing a broader type of anxiety, I’d recommend hobbies that don’t require meticulous attention but aren’t low maintenance enough for you to drift off into distressing thought. I’ve been trying to get into crocheting recently. This is essentially the repetition of loops and knots except you’ll have to keep track of the pattern you are attempting. Listening to ASMR or playing games like Monument Valley can be useful, because these types of media have the intention of relaxing your mind and body. By developing interests like these which promote mindfulness, you become aware of sensations and feelings that you are experiencing in the present. Another way I’ve dealt with social anxiety is to get involved in creative projects. Since I’m not comfortable with the pressure of small talk and crowds, I prefer to express myself through writing or graphic design. Within these creative outlets, my personality is not defined by merely what comes out of my mouth. It’s important to note that avoidance might not be the best way to deal with a phobia like social anxiety. After all, the key to recovery is to acknowledge that your fear is irrational. Nonetheless, I do believe that if you find the right balance for yourself and aren’t being a complete recluse, it’s okay
to seek solitude. I’ve been spoon-fed the idea that only social butterflies go places my whole life. I’m now in the process of dismantling that view – that being loud in thought can be just as powerful. After the past year’s series of lockdowns and quarantine periods, I do think socialising brings positive effects to your wellbeing, regardless of temperament. We’ve all realised the significance of companionship. At the beginning of my diagnosis, I let my social anxiety define me. It was my excuse for rejecting invites to gatherings, or performing poorly in interviews. I had this “not like other girls” mindset. I thought no one understood me and I was having it harder than others. Anxiety is one of the most common mental disorders in the world, so I am certainly not alone. I’ve come to acknowledge that
people have their personal struggles which they don’t speak of, but that is not a cue to invalidate your own issues. This piece is my acceptance of social anxiety as a part of who I am. It’s one of the reasons why I chose to pursue a psychology degree, and I’m enjoying myself so far. While I have reached remission, I still get the jitters for a presentation because I’m just naturally shy, or I’ve had somatic reactions due to stress. This is how I function as a person, and I’m glad I can say that with confidence. It’s been an especially nerve-wracking time for me following the return to “normal” at the University. My normality was Zoom lectures and an empty Bailey. I’ve been easing myself into this and only attending socials that I genuinely want to be at. It’s also been pleasant for me to have met a couple of lovely people simply while walking through Durham (shoutout to the girl who recognised my BT21 charm on Cardiac Hill). It’s good to know people won’t eat you. All jokes aside, I consider myself to be handling this first month well. If you are reading this, congratulations to you, too. You have survived the first month of Michaelmas term, picked up a copy of Palatinate and pumpkin spice lattes are back – life is good.
This piece is my acceptance of social anxiety as a part of who I am
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Image credit: Adeline Zhao
FEATURES features@palatinate.org.uk
St Margaret’s Centre working to improve mental health in Durham Features Editor Miriam Mitchell considers the role of the mental health charity
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he president of the Royal College of Psychiatrists has called the pandemic era a time of severe “mental health crisis”. While Durham University students can reach out to their college welfare officers and Durham Nightline, many of the University’s support services are overwhelmed. St Margaret’s Centre is an activity, support, and training hub for adults with a wide range of mental health problems, that hopes to change this.
34% of full-time students are experiencing loneliness as a result of the pandemic By partnering with Durham Minds, St Margaret’s Centre intends to offer peer support groups to students this upcoming year. Since the start of the pandemic the Centre has become increasingly popular. Upon the Centre’s re-opening in July 2021, there was an influx of new attendees with a total of 41 new individuals referred. The vast majority of these had been heavily impacted by the pandemic. Many attendees, new and old, struggled with symptoms of agoraphobia, finding it difficult to be in a social space with other people as we return to ‘normal’ life. Some have not returned at all due to concerns for their health. Those who attend St Margaret’s Centre can be self-referred or referred by statutory services like mental health support teams and care coordinators. The Centre states that the main disadvantage of self-referrals is that there is no statutory team to provide comprehensive care
plans. A care plan would detail someone’s history, diagnoses, and triggers — without this information, dealing with mental health problems, like agoraphobia, can become more difficult. Nevertheless, by accepting self-referrals the Centre recognises how difficult reaching out for support can be and tries to make it easier by removing the barrier of statutory services. St Margaret’s Centre focuses on recovery as well as prevention and thus believes that people in need of support should not have to wait to receive a formal diagnosis, referral or assessment before attending. Ultimately, the Centre finds that their personal, non-clinical approach helps people feel comfortable sharing their experiences. This has allowed staff to build close relationships with the attendees. The space offers people a chance to have a chat about how they are feeling and what is going on in their lives, or maybe just what was on TV the night before. In an average week the café sees 60-70 customers, but the Centre is hoping to grow this number over the next year. Volunteers play a vital role in the success of most mental health services from welfare officers at Durham colleges to shop assistants at mental health charity shops like Mind, and St Margaret’s Centre is no different. Volunteers help to keep the Centre running smoothly by running activities such as gardening groups and weekly textiles groups (unofficially known as ‘stitch and bitch’). The Centre hope their volunteering scheme is mutually beneficial as they help volunteers build up their skills through work experience and hands-on training in their café and craft shop areas. To meet increasing mental health demands, the future of adult mental health services is shifting to an alliance model throughout Durham. This has led to St Margaret’s Centre working closely with seven other mental health organisations to cover needs like housing, bereavement counselling and training throughout the county. In total 105 people are currently registered at St Margaret’s Centre alone, with most people attending at least once a week. In a study completed by the Mental Health Foundation, 34% of full-time students are experiencing loneliness as a result of the pandemic. In order to escape social isolation, St Margaret’s Centre introduced a Chatty Café scheme to ensure that the local community has a place to go for a warm welcome and conversation
Image credit: St Margaret’s Centre
The Centre realises how difficult reaching out for support can be Everyone needs to take care of their mental health and even if you do not experience mental health problems yourself, you probably know someone who does. With the right support, those suffering with their mental health can blossom in their confidence and self-esteem, develop incredible talents that they never knew they had, and form strong friendships at the Centre. This is one mental health organisation, amongst a number in Durham, which is helping the County through the mental health
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FILM AND TV film@palatinate.org.uk
Arthouse history: a missing subgenre In anticipation of ‘Spencer’, Saffron Dale examines depictions of history within film
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e’re scared to stylise history. Directors have found a trope for historical film and television that they know sells. Some do it well but nearly all are too afraid to deviate from its restrictive and predictable conventions. Directors have two choices when it comes to historical film and television. They keep it lighthearted whilst maintaining historical accuracy, god forbid they inaccurately portray an already subjective history. Or they go dark. Think The Tudors or The White Queen, never failing to capture the brutal, bloody and deceitful side of the royal courts. Again, although I’m partial to the latter, for a subgenre with disturbing conventions, this trope has been used for nearly every period in British history.
More exciting is our next subgenre which merges the modern with the old. Baz Luhrmann achieves this in Romeo + Juliet. Luhrmann combines sixteenth-century Shakespearean dialogue with a 90’s grunge soundtrack and a fast-paced modern world. In my opinion, the combination creates a masterpiece, yet many critics disagree. It’s undeniable that this subgenre inevitably produces its flops. Although Bridgerton succeeds in merging the hypersexuality and multiculturalism of modernity with Regency-era
Where’s the creative freedom and artistic experimentalism?
Editors’ Picks
We’ve all heard of shows like Downton Abbey and Call the Midwife. Although evidently well filmed and acted, why do the conventions, tropes and plots all follow the same pattern? There are no experimental camera angles, no subjective portrayals of characters’ psychological states, no verge on the uncanny. The genre has been so overused that its conventions have become rigid and even suffocating. Where’s the creative freedom and artistic experimentalism? Even in the darker subgenre, with shows like Reign and films like Elizabeth, the same gloomy conventions are followed almost to the letter. However, the latter subgenre contains some notable mentions like Chernobyl and The Crown, which execute emotional richness and darker themes so beautifully that they deserve to set the standard.
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Tove A Finnish biopic exploring the life of Tove Jansson, the creator of the Moomins, Tove provides an insight into postwar Finland’s art world. Following a decade of Jansson’s life, the film sheds light on her art, sexuality and indifference towards the endearing characters she is most famous for.
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England, the series doesn’t delve far enough into such an experimental contrast. Rather than treating these themes creatively, it adheres to the rigid confines of classical period drama tropes. Although the string quartet versions of modern songs are a clever, subtle touch, they don’t punch as hard as Luhrmann’s 90’s grunge in the backdrop of Shakespearean prose. Most successful are the directors that portray history in their own artistic style at the expense of everything else. Director Adam McKay has delved into this stylistic depiction of recent history with films
like The Big Short and Vice. McKay’s witty, fastpaced and comical depictions are subjective and innovative representations of modern historical crises. However, are these depictions only achievable in regards to modern history? Individuals like Yorgos Lanthimos and Tony McNamara are challenging this idea. Lanthimos’ The Favourite is perhaps the first of its kind to shed early modern British history in such a comical, disturbing, and absurdist light. Likewise, McNamara’s The Great captures Catherine the Great and the enlightenment in a much more subjective but arguably realistic way. Instead of placing historical accuracy and intensely spoken, rigid scriptwriting before subjective representation, these directors capture the essence of the time more effectively. With its Succession-like sarcastic speech and cynical undertones, The Great captures the more natural modes of conversation likely to be had by eighteenth-century monarchs rather than the melodramatic soliloquies committed to by conventional period dramas. Despite the brilliance of arthouse history, I can only name a handful of shows and films that fit into the arthouse genre. This is hardly sufficient to constitute an arthouse historical film and television category. Critics vehemently attacked The Favourite and The Great for lack of commitment to historical accuracy. It’s this that I believe scares directors away from making history arthouse. Still, history itself is subjective and if there exist accurate representations to refer to, I don’t see why filmmakers aren’t allowed to bend history for art’s sake. With Pablo Larrain’s Spencer premiering this month, it’ll be interesting to see his take on Princess Diana’s inner world. If its anything like Jackie, Larrain could remain too frightened to veer into the depths of arthouse for fear of perverting fact.
Emma Based on the Jane Austen classic of the same name, Emma hilariously follows the societal complexities of the early 19th century, offering a comically self-aware look at relationships in this era. While not perfectly historical, both the film and the novel perfectly capture the social pressures of class, gender, and status.
Image credit (from left): Ichabod H via Flikr, Adeline Zhao , Erin via Flikr
MUSIC music@palatinate.org.uk
Bursting the bubble Music Editor Annabelle Bulag comments on Durham’s club music scene
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ntering the club for the first time a couple of weeks ago, I was lovingly greeted by the sweet stench of sweat slapping me in the face. Almost a rite of passage (akin to completing an assignment whilst being powered by enough caffeine to fell a horse), the clubbing scene in Durham is familiar to virtually every student to pass through the hallowed doors of the Bill Bryson library.
It is a unanimous voice that declares the music of the Durham clubbing scene to be lacking
Editor’s picks
Sweaty, blinding and deafening to boot, there is an odd charm to the clubbing scene of our lovely city. And when I say odd, I do mean odd. When I had imagined clubbing, inspired by countless movies and TV shows, I had imagined the pinnacle of youth; of glamour and, most importantly, good tunes. So you can imagine the disappointment when (after having recovered from the initial olfactory assault) the cheesy music of eras before sank in. And I know it’s not just me either. Drawing on the experience from my fellow students, it is an unanimous voice that declares the music of the Durham clubbing scene to be lacking. And why would that be? There
I Fall in Love Too Easily (from Chet Baker Sings) This performance of the much loved jazz-standard is soft and introverted, the perfect accompaniment to late-night pattering rain and a hot drink.
are plenty of wacky themed nights out there (Gregg’s night at Players, anyone?) featuring prominent mainstream artists like Drake or Taylor Swift. Whilst some might argue their musical ‘value’ would be lesser due to their status on the charts, it still doesn’t lessen the fact that their output is still catchy and thus valuable perhaps in a different sense to the naysayers’. It’s more of the fact that their newer discography (even on those hallowed themed nights) is not explored to the extent it could be. Instead, they are often under cut by the same tracks that have been bellowed for decades by generations of primary school children. The reaction of the crowd to these songs is always positive, as you would expect the result to be when the drink reacts to the Cha Cha Slide. However, this continual positive reinforcement only encourages a lack of creativity. Nostalgia for simpler times should not be the driving force in a space for young adults. There is much potential for the clubbing scene in Durham - just look to our North Eastern neighbours in Sheffield or Leeds for their thriving underground music scene. It’s not even that we have a lack of talented DJs/musicians within our vicinity either - it’s just that those who might push the envelope aren’t always given an adequate platform. It would appear that we, as an audience, have lost our appetite for something new. And whilst Fabio’s does often feature fresher
material than their counterparts, spotlighting independent student DJs through events such as Rotate, Durham n Bass etc., but being an oasis of originality in and amongst established ‘oldies’ can not effectively cause the ripple needed.
It would appear that we... have lost our appetite for something new Whilst it appears as if I have been exceedingly scathing in my consideration of the old ‘sing-along’ classic, it should be stated that I have nothing against a bit
of cheese. Crowd pleasers like ABBA’s Mamma Mia or Boney M’s Rasputin hold a very special place in my heart and I am more than happy to activate my old dancing bones to reimagine school discos past when they come blasting over the speakers. It is the over-reliance on these old standards that lets us down and perhaps has earned us a reputation for a, quote-unquote, ‘rubbish night out’. Simply accepting such an accolade lying down would not be justifiable for the talented DJs within our city limits - both student and local. It is, therefore, perhaps time to burst out of that Durham bubble and to allow individuals to inspire and to lead a new push for our club music scene.
Learn to Love by anaiis & Azekel Cosy as an autumn blanket, let this pensive ballad from Senegalese-born singer Anaïs & Nigerianborn singer/producer Azekel keep your heart warm as the evenings draw in.
Image credit (from left): Kristine via Flickr, James Jin via Flickr, Blahtrap via Wikimedia Commons
Thursday, 11 November 2021
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BOOKS books@palatinate.org.uk
Travels with long COVID: an itinerary in books Thomas Hennessy explores the literary journeys induced by a summer with long Covid
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Editor’s Picks
n June, having unfortunately succumbed to ‘long Covid’, my summer took on a shape I did not imagine. After the conclusion of my third year, my summer travel was reduced to that which I found in books. However, my itinerary, despite being confined to the page, ended up involving more travel than my original plans. Reading is an exercise that requires only rational faculties, which mercifully helped me to survive the onslaught of the virus. Reading enabled me to escape my stuffy bedroom and ill-health to travel through time and space. Socrates once mused: ‘How can you wonder your travels do you no good, when you carry yourself around with you?’. This ancient wisdom is surely true – you cannot fly away from your problems and anxieties. It is the mental perception of new surroundings that has vitalising qualities, rather than the physical fact of being there. My travels with long covid have shown that the reverse is also true. You can experience the mental benefits of travelling, even if you only find youself there with the aid of a book. My first trip was to the ancient Mediterranean with Herodotus’ Histories as my guide. I beheld the Persian Empire rise from the mire under Cyrus, I witnessed awestruck as the Pythia, a
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Ice - Anna Kavan Fitting for the colder months, lose yourself in a Kafkaesque dreamscape in some of the most influential sci-fi of the 20th century.
Thursday, 11 November 2021
priestess possessed by Apollo, uttered the will of the god and shaped the course of Greek history. Soon after, upon openining The Bacchae, I arrived in Euripides’ Thebes. This is a magical world where Dionysius, the wine god himself entered the city as a flesh and blood being. The line between human and animal is permeable; a Bacchic trance impelled the queen to tear her son to ribbons using only her hands, and Cadmus, the city’s founder, along with his divine wife Harmonia were transformed into snakes. Insidious enchantment pulsates to Dionysius’ intoxicating tune, himself shifting shape and gender, as the feverish music of pipes and draughts of wine cause people to lose their minds. Imperial Rome, accessed through Suetonius’ The Twelve Caesars, was no less fantastical. I was led on a whistle-stop tour of the personalities and cruelties of the Caesars. With glee, Suetonius narrated the colourful tapestry of depravities and eccentricities that lie behind the stony marble facades that represent them today. Fatigued from my visit to Rome, I decided to seek sanctuary in seventh-century Lindisfarne in the company of St Cuthbert and Alistar Moffat. Perusing Moffat’s To the Island of the Tides, I followed the author’s narration of his family history and reflections on mortality as we tramped through the Scottish borders. This is a place heavy with spirits from the pagan past and pockmarked by oases of calm and lasting histor-
The Promise - Damon Galgut Winner of this year’s Booker Prize, experience gripping emotional truths a Galgut mastefully portrays a family in crisis.
ical memory. Finally arriving at the island of the tides, a peace came over me from Moffat’s serene prose. In this island off Northumberland, buffeted by howling North Sea winds and once by terrifying Vikings, an aura of harmony and satisfaction persists through the centuries.
You can experience the mental benefits of travelling, even if you only find youself there with the aid of a book. Suitably refreshed, I travelled to Dostoyevsky’s St Petersburg via Crime and Punishment. I inhabited the psyche of Raskolnikov, a penniless student who murders two women. He believed that his evil would be vindicated by the good he would do with the murderous proceeds. However, feverish guilt, anxiety and disgust overwhelm him, just as long Covid threatened to overwhelm me. In the background, Tsarist St Petersburg is a hellscape, sweltering hot and populated by bestial figures tarred by every vice. The good are subjected to suffering and derision beneath a deaf heaven. I found the conclusion of Raskolnikov’s redemption through Christianity completely unsatisfactory. His murderous utilitarianism was not renounced because it was philosophically shown to be false, only bad for his soul. Jaded by the idea that morality and goodness doesn’t exist on an objective footing, I turned to Plato’s Republic. I was removed from materiality itself and led me to a disembodied world of perfect ideas and forms, which provided blessed relief from the reality of long Covid.Now back to ‘real’ life with mostly restored health, I am planning what form my next summer should take. As fascinating as this one was, I think I’ll do something more relaxing next time. Perhaps Ibiza.
The Secret History Donna Tartt A perfect escapist read to get you through the colder months. A powerful, witty, compelling piece of fiction.
Image credit (from left): Henrique Ferreira via Unsplash, Book covers via Penguin