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My favourite TV show - A combination of F.R.I.E.N.D.S (accepting that it’s okay to be in my 30s and still have no idea what I’m doing…) and Family Guy (pushing the boundaries of “socially acceptable” conversations to expose everyday stressful situations as simply funny historical ‘moments’ in a comparably very short existence on our planet). My favourite place to go - Aside from my Armenian hometown, Yerevan, I’m torn between munching on Ntakos on the sandy beaches of Western Crete with an iced latte, and taking a slow walk through New York’s Central Park in a February snowstorm. My favourite city - See above 🙂 My favourite thing to do in my free time - Procrastinating: whether through gaming, playing the piano, cooking, or any other unearned leisure activity in the dark playground. My favourite athlete/sports personality - None, their egos get under my skin. My favourite actor - *actress: Melissa McCarthy, actor: Steve Carrell. In combination, they are both geniuses of comedy. My favourite author - Erica Spindler. She is a hidden gem, but singlehandedly the best contemporary crime and mystery novelist. My favourite drink - Bubbletea: White peach with tapioca & lychee jelly. My favourite food - Anything authentically Italian will satisfy 25% of my genes. My favourite place to eat - Pickle & Rye in Richmond: a family-run restaurant with the best American-style buffalo chicken burgers you will find in the UK! I like people who - are upfront and honest (sometimes skipping the small talk is best). I don’t like it when people - treat service staff like second-class humans. It costs nothing to be polite. Let’s exercise some empathy for people who are paid pennies for the amount of work they do for us (and that can go for all sectors). My favourite book - Post-Truth: How Bullshit Conquered the World by James Ball. It's been eye-opening throughout my PhD. My favourite book character - Difficult one. Fictional characters don’t resonate with me as much as real people…though Horace Slughorn from the Harry Potter series did leave a positive lasting impression! My favourite film - This is very tough as I have many favourites. May have to settle with the Back to the Future trilogy…for now… My favourite poem - Not so much a “poem”, but Martin Niemöller’s First They Came… is infinitely adaptable to all situations of social injustice, and serves as my moral compass to empathise and speak out at times when others might not be willing or able to do so. My favourite artist/band - Impossible to answer as my taste is eclectic. It can be as wide a range as between Ella Fitzgerald, The Human League and Muse. My favourite song - Another impossible one to answer! My favourite art - Leonid Afremov’s work has a special place in my heart. My favourite person from history - Komitas: a remarkable Armenian composer with a tragic life. He spent the last years of his life in various psychiatric facilities trying to cope with having witnessed the worst imaginable human atrocities during the Armenian Genocide of 1915 in (at the time) Ottoman Turkey.
TW: mentions of rape, child rape, racism, and misogynoir.
Alice Walker’s novel The Color Purple is a story loved around the world. So, when I saw that it was adapted to stage and touring the UK, my interest was peaked just enough to consider a visit to my local theatre the Royal & Derngate in Northampton. A Curve and Birmingham Hippodrome co-production, it came to Northampton in the first week of October. Largely, audiences that frequent my local theatre are overwhelmingly white – thus, watching The Color Purple it was a joy to my heart to hear Black people in my community engaging with the arts, because the last time I heard so many Black people attended, was for Our Lady of Kibeho as part of the R&D’s Made in Northampton season. This dates back to 2019, a production I reviewed for The Nenequirer showing that Northampton(shire) arts has work to do.
Social media platforms like Twitter and Instagram showed me the pretty unanimous positive praise for the Leicester-Birmingham co-production, while local critics also enjoyed it – including reviews from The Chronicle & Echo and The Nenequirer as well as further reviews by The Real Chris Sparkle and Northampton Town Centre BID. However, there were elements of the show that caused me great distress, no less than the perpetuation of misogynoir and racist stereotypes against Black men. It was deeply triggering, showing how historical trauma and vicarious trauma are ever present, including when white organisations have not done the work of protecting Black mental health when producing “Black-centred media.”
At the head of this cast, Me’sha Bryan gives a knockout performance as Celie (previous played by Whoopi Goldberg in the film) accompanied by Aaliya Zhané as Nettie, with Bree Smith as Shug Avery, and brilliant musical numbers grounded in the traditions of blues music that finds its origins in the trauma of enslaved Africans in the American South. They sang when “they got the blues” … and as far as performance and the commitment from the cast, I couldn’t ask for better.
However, whilst I have praised the musical numbers above, I did not believe it fitted with the tones of The Color Purple curating a rift between what the actors were saying and doing on stage, and the intonations of the music – as well as the lighting design. And despite the directorial position deciding the rape of a child wasn’t musical material (rightly so), the choice to have it as a passing detail with no further discussion, I found particularly off-key. This is one of the moments that highlights that The Color Purple may not have been musical material and better considered as a serious drama. I did not walk away feeling that bleak, much ado with contradictory lighting choices to character moods. The characters were feeling one away and lights did something else. By the by, rather than skip over the rape to maintain “the musicalness”, it may have been more effective to have done this story as a stage drama (with musical elements, if at all). The horrors depicted at the beginning of the novel are pretty nonexistent in musical.
So, this recent adaptation was a disappointment. Not from an acting point of view but behind-the-scenes pre-production elements like direction. The start of story includes a fourteen year-old who births two children after being raped by her father. So, the amount of trauma that exists around child sexual abuse and rape appear unconsidered when they glossed over these parts of the story. Furthermore, I do question if they consulted with any survivors when doing research for this adaptation. A ‘sensitivity consultant’ would not have gone amiss either, further to considerations of intersectionality and how cultural nuances in global, but still different Black communities, will be interpreted by white people, especially in provincial Little England.
Blown away by the musical abilities of the cast, stage productions (like much art) are often labelled as “escapist” so is not afforded the same criticality as for example – policing, education, sport and so on – we are all guilty of this and we can do better. This may be art; there were no redeeming Black characters, and Black men calling Black women “ugly” (written into the script) in full face of a white audience is cultural violence. In Northampton, the large white audience laughed at this example of ableist misogynoir, and in many ways this production felt to be played up for white audiences. Lots of white people are not used to seeing Black people as full human beings, and I do feel the play draws out our humanity. And by proxy centres white comfort with a Black aesthetic reinforced by white supremacy in media.
Disability justice activist Talia Lewis has released definitions of ableism every year since 2019. In January 2022, she discussed ableism as a violent social discourse that values people’s bodies and minds according to societally constructed ideas of “normalcy, productivity, desirability, intelligence, excellence and fitness …” Lewis (2022) states that these ideas are embedded in other violent discourses such as eugenics, capitalism, misogyny and white supremacy. The adaptation of these characters is only part of this debate, where another part may want to consider how this play has informed everpresent white superemacism pervasive across Northamptonnshire. It may impact how local white audiences may view Black people when they perceive that in this cultural text – ‘this is how Black people talk and act around each other.’
“This systemic oppression leads to people and society determining people’s value based on their culture, age, language, appearance, religion, birth or living place, “health/wellness”, and/or their ability to satisfactory re/produce, “excel” and “behave.” You do not have to be disabled to experience ableism.”Talia Lewis (2022)
In Homegrown (hooks and Mesa-Bains, 2017), bell hooks tell us “We have to constantly critique imperialist white supremacist patriarchal culture because it is so normalized by mass media and rendered unproblematic. The products of mass media offer the tools of the new pedagogy.” Theatre is no different to films, literature or television programmes. Watching the musical, it struck me how the numbers of people who haven’t done the work of unlearning their own white supremacy would be impacted by such an adaptation (yes, as we know all humans can reproduce these isms but in a global western context, however, white supremacy has put white people on the top of that racial hierarchy).
One instance of misogynoir and ableism was underpinned by the three Black women singers (their character names escape me) who were written as Sassy Black Women inherently “comedifying” Black womanhood. Brilliant singers, but were written lazily reinforcing a damaging cultural media narrative that diminishes the three-dimensional personhoods of Black women. This was offered with no alternative. The Hypersexual Jezebel (named after the “sinful” Biblical character) appears in numbers of characters while Sofia was written as the Strong Black Woman. Black men were then written as violent, comedic relief, illiterate, and other harmful stereotypes, and domestic abuser Mr Albert is redeemed to the sound of musical harmonies and joyful lighting.
At a Northampton level, the critics from local media revisited a culture of uncritically discussing art. Stories aren’t just stories but a product of the society that created them, and we are a society that finds it easier to challenge the criminal justice system than it does liberal arts institutions, in spite of both having a say in how Black people are viewed and treated. Despite “Black theatre” not being genre, we need more shows at the Derngate that centre Blackness in Britain. And whilst commissioning and hosting shows about ‘Black issues’ is not evidence of an anti-racist commitment, it would be nice to see more shows locally about Black people in the UK by Black people.
When we do get “Black stories”, they so often centre the US, most recently The Color Purple (Oct, 2022) and Two Trains Running (Sept, 2019) – denying local audiences a context for Blackness within the United Kingdom, while recentring American Blacknesses is gaslighting through art. In November, Dreamgirls centring American Blackness is coming to the Derngate. A co-production between The Curve and the Birmingham Hippodrome, this adaptation of The Color Purple was deeply problematic on many levels that local white critics may not have picked up on because of their whiteness – drawn in by a spectacle of a “Black show”, viewed through a white gaze that is unused to talking about white supremacy as a political structure.
The white audience for these misogynoir tropes specifically – largely one of laughter – reminded me of the white gaze, with white laughter as eased white supremacy. Whiteness continues to pervade through ‘acceptable racism’ where serious digs made at Black people in-text laughed at by white people may show how white people may think about Black people in designated white spaces. A Black man seriously calling a Black woman ugly and a white audience laughing at that is incredibly revealing – a comfortableness in spaces coded as white … and how white people may act when thinking and talking about Black people in private (i.e in spaces coded as culturally white and desgined to their comfort).
“I grew up in a culture of bantering and, ngl, I love a caustic riposte. And while in certain ways I resent the current policing of language, there is a distinction. I hate to break it to you, but a “joke” in which the gag is that the person is black isn’t a joke, it’s just racism disguised as humor. A joke told to a white audience where the punch line is a racist stereotype isn’t a joke, again it’s just racism; if there is only one black person present, it’s also cowardly and it’s bullying. Jokes of this nature probably aren’t funny for black people.”Emma Dabiri (2021: 98)
Art imitating life is one thing, but when life imitates art is another. White laughter at Black people in cultural media texts goes back to the days when blackface was on the BBC (until 1978). To see this platformed by a local arts institution then profiting from it, is revealing of how whiteness is performed and profited from, when white people think they’re not being watched. Creatives have a responsibility and so do those institutions that platform them.
Myself and fellow blogger @haleysread discuss this further in our prior entries about the scandal surrounding Jimmy Carr and Netflix. On that October evening, being one of the few Black people in the audience, it was incredibly uncomfortable. To consider art uncritically is to be entertained from a vantage point of privilege (or ignorance). Attending with my friend, to see unanimous positive feedback from the public made us feel a way, no less than from many Black people. We must always be critical; being critical is not the same as criticising, and those who are critical only take the time to be so because we care.
It is not about individual actors but about the lack of critique of institutional platforming in producing “art” that goes on to cause harm. Another fellow blogger Stephanie @svr2727 talked about misogynoir and the media in her recent webinar with the Criminology Team and Black Criminology Network. Violent mistakes in arts productions show a need not for more historical consultants, but sensitivity readers and empathy viewers. One cannot teach empathy, you either have it or you do not. Extending this gaze to screen media texts as well like Bridgerton and others, it is a further reminder that social scientists are needed at the very top of media … especially those of us that research about race, racism, and other forms of violence.
These cultural texts are rehearsed, edited, and considered by multiple hands before any public audience sees them. So, why are we still having to challenge? Simple: misogynoir, ableism, and whiteness are institutionalised and normalised socially and culturally into our day-to-day practice. No less than in “liberal” arts institutions.
“Nothing but a circus, with clowns and all.” – Malcolm X
Teamwork is often promoted as a valuable transferable skill both by universities and employers. However, for many the sheer mention of this type of group activity is enough to fill them with dread. This is a shame, and I want to use this blog to explain why.
I’m definitely not one for sports, but even I cannot avoid the discourse around women’s football and Euro 2022. Much has been written about the talents and skill of England’s Lionesses, of which I know very little. Equally there has been disquiet around the overwhelming whiteness of the team, an inequality I am very familiar with throughout my studies of crime, criminality and criminal justice. Nevertheless this blog isn’t about inclusion and exclusion, but about teamwork. Football, like many activities is not a solo enterprise but a group activity. All members need to be able to rely upon their team mates for support, encouragement and ultimately success. If a player doesn’t turn up for training, doesn’t engage in sharing space, passing the ball and so on, the team will fail in their endeavours. Essentially, the team must be on the same page and be willing to sacrifice individuality (at times) for the good of the team. But football isn’t the only activity where teamwork is crucial.
One only has to imagine the police, another overwhelmingly white institution, but with a very different mandate and different measures of success. Here a lack of support from team mates could be a matter of life and death. Even if not so severe, the inability to work closely with other officers in a team can make professional and person life extraordinarily difficult to maintain. It has repercussions for individual offices, the police force itself and indeed, society.
Whilst I’ve the made the case for teamwork, it is not clear what makes a good team, or how it could be maintained. Do all teams work? Personal experience tells me that when members have very different agendas and lose sight of the main objective, team work can be very challenging, if not impossible. There has to be a buy in from all members, not just some. There has to be space for individuals to develop themselves as well as the wider team. However, when the individual aims continue to take priority over the collective, cracks emerge. The same experiences suggest that teamwork cannot be accomplished instantly regardless of intent. Teams take a long time to build rapport, to bond, to gain trust across members and this cannot be hurried. Furthermore, this process requires continuing individual and collective reflection and development. So where can we find an example of such excellence (outside of the wonderful Criminology Team, of course)?
I recently watched the BBC 4-part documentary My Life as a Rolling Stone. Produced to mark 60 years of the band, the documentary explores the lives of Mick Jagger, Keith Richards, Ronnie Wood and the late, Charlie Watts. There were lots of interesting aspects to each part, but the most striking to me was the sense of belonging. That the Rolling Stones are a cohesive team, with each member playing very different parts, but all essential to not only the success of the band, but also to the well-being of the four men. Alongside discussions around creativity, musicality and individual skills, they describe drug taking, alcohol abuse, romantic relationships, fights, falling out and making up. There were periods of silence, of discord and distrust and periods of celebration and sheer personal and collective joy. Working together they provide each other with exactly what they need to thrive individually and collectively.
These men have made more money than most of us can dream of. They have been to parts of the world and seen things that most of us will never see. All of them are heading toward 80 but keep writing and performing. More importantly for this blog, they seem to illustrate what teamwork looks like, one where communication is key, where disputes must be resolved one way or another, regardless of who was right and who was wrong and where the sheer sense of needing one another, belonging remains paramount. I could use a dictionary definition of teamwork, but it seems to me the Rolling Stones say it better than I ever could:
“You can’t always get what you want
But if you try sometime
You get what you need”(Jagger and Richards, 1969).
In June 1977, 45 years ago, I saw the Queen, albeit fleetingly, being driven past Piccadilly Circus en-route to Buckingham Palace for the culmination of the Silver Jubilee celebrations. I wasn’t there for the party. I was making my way to Camden Town and the rehearsal studios used by the Punk-inspired band Subway Sect, who my friend from school had joined as their drummer. The studio, part of a crumbling yard of railway buildings, some still bombed out from the War, would soon begin its transformation into trendy Camden Market.
Punk shared an interesting crossover with Black music culture, in particular reggae. As teenagers, most of us growing up in the 70s were familiar with Blues and Tamala Motown, but reggae was new to me, especially the Heavy Dub style popular in the Jamaican community. The man largely responsible for my education was Don Letts, the House DJ at The Roxy in Neil St, Covent Garden. Originally a fruit and veg warehouse, between 1976 and 1978 the Club shot to fame/notoriety as the top Punk venue in London. The problem for the promoters was that in 1977 the scene was so embryonic there were as yet no home-grown punk records to play. So, in the gaps between live bands, Don played what he wanted, namely reggae, which went down well with the mostly white crowd. To quote from his website: “he came to notoriety in the late 70s as the DJ that single handedly turned a whole generation of punks onto reggae”. In fact, the combination became so popular that Bob Marley’s Punky-Reggae Party released in 1977 as a 12 inch (Jamaica only) and as the B-side to Jamming, reached number 9 in the UK singles charts. Don’s choice of tracks from his Roxy days are captured in the critically acclaimed compilation Dread Meets The Punk Rockers Uptown (Heavenly Records).
Scroll forward a couple of years and I’m working as assistant van driver to my boss Morris, a Jamaican-born reggae fan. He was involved in the local music scene and sometimes I would help him set up a Sound System for private house parties, in and around Brixton. We would use the work van, a sackable offence given the prestige brand name of our West End employer, but worth the risk. Think Small Axe: Lovers Rock, but with more sound gear and ganja-smoking Rastas, and you’ve got the picture. While sometimes out of my comfort zone, it was uplifting to witness first-hand a community at one with its own identity while lobbying for change in wider society that remained indifferent at best.
It was also a time in London when the Metropolitan Police stop and search “SUS” law reigned high. I witnessed several occasions where Morris was subject to blatant racial harassment. Once I was on a delivery to an exclusive residential part of Town. On these visits we played a game, coined by Morris, as Dropsy or Tipsy – would we be offered a Dropsy (cup of tea/coffee) or a cash tip for the delivery, typically a sofa or expensive Persian rug? The winner was the one who made the right call in advance. We parked in the street and as we got out several police officers on foot suddenly approached Morris and demanded to know what he was doing, despite the rather obvious fact he was at work. When they saw me, the situation cooled off, but the aggressive tone of the questioning was clear and present intimidation of a black man, whose only ‘offence’, while going about his legitimate business, was to be in a white, rich area. I wish I could say this was a one-off. Unfortunately, we all know that’s not the case. Another time relates to the shocking mistreatment he got crossing a picket line. The work van was kept in a British Road Services Depot at Elephant and Castle. We both turned up on the day a lightning strike had been called by the Transport and General Workers Union. I understand emotions can run high in these situations, but there was no excuse for the barrage of racial abuse he took from sections of the crowd. He brushed it off with characteristic good humour, but the episode tainted my view of trade unions ever since.
As this is a criminology blog I should probably throw in an example of real-life criminality. It happened mid-morning one Friday following a drop-off in busy Bishopsgate. Returning to the van I noticed a castor wheel on the pavement. “Looks like it’s come from one of our sofas” I remarked. It had. When we pulled back the shutter, the van was empty. Everything we’d loaded up an hour ago was gone. Sofas, walnut dressers, rugs, porcelain table lamps, all cleaned out. The castor was all that was left! Robbed in broad daylight, next to a bus stop. In panicked disbelief we asked those in the queue if they’d seen anything but we were wasting our breath. It was left to Mr Farooqui, the long-suffering Despatch floor manager, to take the heat from angry customers as he rang round to tell them the good news. Needless to say, management weren’t impressed and dished out first and final written warnings. Soon after we went our separate ways.
Meanwhile, the overlap between black and white youth culture in London was being fostered in creative ways. Rock Against Racism (RAR), founded in 1976 along with the Anti-Nazi League (ANL), a year later, were both set up to combat a surge in far-right extremism. Music, especially the cross-over between various genres including punk and reggae, was an important enabler in that it found common ground from which more overtly political discussions could take place. I was one of the many thousands who, in April 1978, joined The Clash, Steele Pulse and others at Victoria Park, Hackney, in what was RAR’s finest hour. Also in the audience that day was Gerry Gable, the veteran anti-fascist campaigner and founder of Searchlight magazine, whose archive is hosted here at the University. I spoke to Gerry about this and he has very fond memories of the day and his role in helping it come about through his associations with both RAR and the ANL.
So, in the year of the Platinum Jubilee, has popular music culture continued as a positive force for race integration since the punky-reggae days of 77? It’s probably a PhD project or two (dozen), but Bob Marley sums it up for me nicely:
What did you say?
Rejected by society
Treated with impunity
Protected by my dignity
I search for reality
If by the search for reality we mean certainty, then how certain are we things have changed for the better? My experience is that, on average, they have, and that music has played its precious role in bring people closer together. The key here is “on average”. If by reality we mean a search for legitimacy, there is evidence to the contrary. Differences of course remain, and there is no room for complacency. The one pledge we must agree on though is to never stop searching – for melody, for rhythm, for harmony.
My favourite TV show - Narcos - I have always been fascinated with the story of Pablo Escobar. Narcos gives a very good insight into the corruption behind the Columbian Cartel and as a viewer you are immersed into the shocking world of drug trafficking My favourite place to go - The theatre, I have been to see various productions. My all time favourite show would have to be The Lion King My favourite city - I love the hustle and bustle of London. There are so many things to do. So many sights to see and it is brimming full of culture My favourite thing to do in my free time - Shopping My favourite athlete/sports personality - Usain Bolt, he runs with so much finesse My favourite actor - Christoph Waltz, I like how versatile he is. From his comical performance in Horrible Bosses 2 to his terrifying role in Inglourious Basterds, he is always on point in his roles My favourite author - Charles Dickens My favourite drink - A classic Mojito My favourite food - This is a hard decision to make as I am a real foodie. I would have to choose a classic Carrot Cake with cream cheese frosting My favourite place to eat - Ascough’s Bistro – Market Harborough I like people who - encourage others to do well and celebrate their success I don’t like it when people - are jealous and sabotage others My favourite book - Nicholas Nickleby, it reminds me of my teenage years My favourite book character - there are too many to choose! My favourite film - I am a big fan of 80’s and 90’s films, my favourite has to be Romancing the Stone. I love adventure films, I also love The Goonies My favourite poem - Still I Rise by Maya Angelou, I say no more My favourite artist/band - – I am a big music lover. I like music from all genres from Motown and RnB to Hip hop and Drum and Bass. Whitney Houston will always be my number 1 female artist My favourite song - I don’t have one, but Chris Brown's Indigo Album has been on repeat since 2019. This album is a masterpiece My favourite art - Starry Night by Vincent van Gogh. This reminds me of the winter nights during my favourite time of year, Christmas My favourite person from history - Queen Nanny – she was a lady captured from the Asante people and brought to Jamaica and sold into slavery. She is an important figure in the Jamaican rebellion against slavery. She escaped the plantation she was held on and settled in the Blue Mountain region of Jamaica. There she set up Nanny town which was a free village for Maroons/ African slaves and Arawak that had escaped their slave masters. This settlement was a key element for the uprising against oppression. Queen Nanny was not only a liberator of over 1000 slaves, she was also a warrior and is Jamaica’s only female national hero.
My favourite TV show - My favourite current show is Friday Night Dinner. My all-time favourite has to be Breaking Bad, I’ve watched from beginning to end three times! My favourite place to go - Definitely has to be the beach, I always find being by the sea calming. My favourite place in the world is Thailand. I’ve never met such happy, friendly people. Thai street food is amazing and it’s a beautiful peaceful part of the world My favourite city - London. I have so many memories of day trips, nights out and experiences in London. Every time I probably don’t spend as much time there as I would like actually considering how easily it’s reached from where I live My favourite thing to do in my free time - Bake. You can’t beat a home-made cake. I’ve been baking a lot lately, my children are fed up of cake! My favourite athlete/sports personality - I’m not a huge sports fan but I have a lot of respect for Usain Bolt. I watched a documentary about his life once, his commitment to training and resilience was incredible My favourite actor - Morgan Freeman. He always seems to choose roles well that suit him. I don’t think I’ve seen any film’s he’s been in that I haven’t enjoyed My favourite author – I don’t think I could choose. It’s not very often I read books by the same author for myself. I do with my children though, my favourite children’s author is probably A.A. Milne or Roald Dahl because they’re classics which never grow old My favourite drink - Chocolate milkshake… I’m not sure I’ve ever grown out of drinking chocolate milk! My favourite food - Cheeseburgers. My friends call me a connoisseur of cheeseburgers because I eat them so much. Everyone I know asks me before trying out a new burger restaurant My favourite place to eat - My mum and dads house. My mum makes an amazing roast dinner. There’s nothing better than a family meal, even if I do normally end up washing up at the end I like people who - are open minded, honest and empathetic. I don’t see any reason to be anyone other than yourself. I also think the best way to learn and grow as a person is to remain open minded. As for as being empathetic, I think people show this in many different ways, sometimes it’s less obvious. I like to believe most people have some good in there somewhere I don’t like it when people - are closed minded and argumentative. I think there’s a fine line between intelligent debate and opinionated argument My favourite book - Since I was a teenager my favourite book has always been Junk by Melvin Burgess My favourite book character - Raoul Duke in Fear and loathing in Las Vegas. I find it interesting the way the character is a representation of the way the author views his life. Hunter S. Thompson was an interesting enough character without needing a fictional version My favourite film - Interstellar. Space fascinates me. I like to ponder over the possibilities of time travel. I love that physicist Nolan Thorne was hired to make the explanation of a black hole accurate My favourite poem - Warning by Jenny Joseph. I read it on my wedding day. It was actually the priest who suggested it, I think he saw I was a little bit of a wild, independent woman! My favourite artist/band - I’ve been going to raves since I was 16 so most of my favourite artists are small and less well-known DJ’s. My husband Dj’s as well, so many of them I met through him, and are now good friends of mine. I don’t think I could pick just one My favourite song - This a tough one, I like so many genres of music. I guess if I had to choose one, it would be “The way you look tonight” by Tony Bennet because it was my wedding dance song and it always makes me think of my grandparents My favourite art - My favourite type of art is portraits. I watched a documentary with artist Grayson Perry and he described how portraits are an interpretation of how the artist see’s that person. I like to look at portraits and imagine what I think that person is like My favourite person from history - It would have to be Albert Hoffman. My area of research is mostly based in psychedelic medicines and drug policy. Albert Hoffman is the scientist who discovered LSD. He’s quite well-known for accidentally administering himself the first documented dose of LSD and riding his bicycle home. He was one of the first people to recognise the potential pharma psychological benefits of hallucinogens, I like to think one day modern science will make a strong enough case to revolutionise psychiatric care with substances like LSD. Although Hoffman discovered LSD in 1943 we still don’t fully understand the full complexities of how it works on the mind
My favourite TV show - I am not really one for television, but I recently stumbled upon a 1960's series, called The Human Jungle, lots of criminological and psychological insight, which I adore. I also absolutely loved Gentleman Jack (broadcast on BBC1 last summer) My favourite place to go - Wherever I go the first thing I look for are art galleries, so I would have to say Tate Modern. Always something new and thought provoking, alongside the familiar and oft visited treasures My favourite city - I love cities and my favourite, above all others, is the place I was born, London. The vibrancy, the people, the places, the atmosphere....need I say more? My favourite thing to do in my free time - Read, read, read, read, read, read, read, read...... My favourite athlete/sports personality - This is tricky, sport isn't really my thing. However, I do have a secret penchant for boxing, which isn't brilliant for someone who identifies as pacifist, so I'll focus on feminism and pick Nicola Adams My favourite actor - (Getting easier) Dirk Bogarde My favourite author - (Too easy) Agatha Christie My favourite drink - Day or night? If the former, tea.... My favourite food - Chocolate, always My favourite place to eat - So many to choose from, but provided I am surrounded by people I love, with good food and drink, I'm happy I like people who - read! I don’t like it when people - claim to be gender/colour blind....sorry mate, check your privilege My favourite book - (oooh very, very tricky) Virginia Woolf's A Room of One's Own primarily because of the profound effect it had and continues to have on my understanding My favourite book character - (Easy, peasy) Hercule Poirot My favourite film - (Despite my inner feminist screaming nooooooooo) The original Alfie with its wonderful swinging sixties' vibe My favourite poem - (Decisions, decisions, so many wonderful poems to choose from) I'll plump for Hollie McNish's Mathematics My favourite artist/band - The Beatles My favourite song - (Given the previous answer) it has to be Dear Prudence My favourite art - I love art, but hands down Picasso's Guernica is my favourite piece. To stand in front of that huge painting and consider the horror of war is profound My favourite person from history - The pacifist, suffragette Sylvia Pankhurst, a beautiful example of the necessity to be confident in your own ethics and principles