Author: Yasmin Ali
How to hide more than a 100,000 people in plain sight? That part is easy – pretend it never happened, and if you do accidentally mention it, make sure you call it something misleading.
So yesterday those 100,000+ people marched from Park Lane to Parliament Square. Mostly it was ignored by the media, especially the most trusted news source, the BBC. In effect, it never happened. A non-event, staged by non-people, nothing to see here, move along please.
As a youthful protestor for various causes, I got used to this. We were rent-a-mob, stuffed into student-union sponsored coaches, off for a jolly. It wasn’t fair then – our causes were real, from racism to nuclear weapons, from coal mines, to land mines – but there was a trace of truth to those who scorned us. Many who marched were not personally affected by the causes they supported, or else, as with nuclear weapons, the fears were almost too big to contemplate.
Yesterday was not like that.
The unreported march was not a single event, but the work of a nascent movement; a confusing, growing movement, angry, clever and energised. The unreported protest, where it did get a mention, was usually referred to as a ‘Pro-EU’ march, or a protest by supporters of the European Union. This, too, is incorrect, deliberately, knowingly incorrect. The march, and the movement, is not so much pro-EU, as anti-Brexit. That difference matters.
It’s also heresy, of course. In the post-coup country ruled by the authoritarian Brexit Party, (with its self-neutered Opposition, the Nice, Kind, Keep Your Fingers Crossed Brexit Party), to be anti-Brexit is to be an “Enemy of the People”, a “Remoaner”, people who should be “strung up from lamp posts”, or assassinated. “Enemies of the People” was a real headline in a mass-circulation, politically-influential newspaper. “Remoaner” is an unpleasant term of abuse I heard most recently on the leading BBC TV politics programme, The Sunday Politics this morning. The “stringing up from lamp posts”, and similar proposals of terror are all over social media, including some from office holders in political parties and public life. The assassination was of a Member of Parliament whose ‘crime’ was to campaign against Brexit. So this stuff, the calculated denigration of legitimate actors and actions in a democracy, is a real and present danger. And we were protesting against it. You might think that to be a mild response to the oppressive regime of the Brexit Party and their apologists.
The unreported march was something else, too. There was organisation behind it, crowd-funded, a spontaneous response to Brexit. But the numbers on that march were so much more than just a head-count. Some people came, as I did, on a locally-organised coach, paying our own fare. The local organisation which booked the buses, and used social media to promote the event and sell tickets, was a spontaneous coming together of people who meet in a room in a pub, cross-party, no-party, committed and energetic. I’m talking of Birmingham, but similar groups, ad-hoc, local, definitely neither ‘metropolitan elite’, nor ‘citizens of nowhere’ are everywhere, at least in England and Wales.
Other people came as individuals, couples, families, mobilised by social media, carrying home-made placards (often very clever and witty, sometimes stinging and angry), They came by public transport from across the country, self-motivated.
Think about that for a moment. We aren’t actually a very demonstrative nation. Protest is hard. Politics, indeed, is hard. Canvassers for all parties find the general public turned off by politics, ever-ready to slam a door in the face, and with a ready line in abuse. So for an individual, a couple, a family with young children, and in some cases, the family dog, to come along to a protest march is an act of heroic moral resolution. To turn up, you really have to believe, whole-heartedly, that a cause is right and just.
This has happened before. I had a few conversations yesterday with people who had last protested against the invasion of Iraq. They drew no parallels between the two events, other than to make guesstimates as to the size of the crowd. I will draw a parallel, though. The two million people who mobilised to try to stop the invasion of Iraq were ignored. Most of the media were against them, they did not sway the vote in the Commons. The Iraq war happened.
In 2003, the government, and Parliament, and most of the media, had their way. Some of them scorned the two million as nothing but irrelevant Trots and pacifists, dupes of the sloganising leaders of the Stop The War Coalition. The protestors didn’t matter.
History now suggests that they ought to have mattered. The protestors then were from that deep, and wide reservoir of people who aren’t Party die-hards, and who worry about things with great seriousness. They said then, that the fall-out, the repercussions of war, would be terrible and long lasting. What they didn’t explicitly prophesy was that those repercussions would rumble like a fault-line, through the body politic in Britain.
That protest marked the beginning of the end of the magic reign of Tony Blair and New Labour. That they won one more election can’t disguise how badly their vote was on the slide. The protests also doomed the neoliberal dreams of David Cameron and George Osborne, two men who called Blair ‘The Master’. In a way, the Establishment reaction to the 2003 protests foretold the casual hubris that ended in that ill-fated referendum last year.
The people spoke in 2003. Now diplomats and generals recognise that the wisdom of that crowd was more acute than any dodgy dossier, or desk-warrior of ‘liberal interventionism’.
The moral is this. Sometimes the worries that pull people out onto the street in thoughtful, peaceful, serious protest are worth taking seriously even when the might of Government, the legislature, and the press are against them.
For if Brexit was the inchoate revolt of the residual working class, and (more numerous in its ranks) the declining lower-middle class, the anti-Brexit movement is the educated, socially-liberal, internationally-minded, sometimes economically-precarious, new middle class making its voices heard.
This group, a product of the welfare state, and the expansion of access to higher education, is the part of society that gets things done. They know how to do things, they run things, they are practical and hands-on, but also serious thinkers, anxious to do the right thing, to act on evidence, to be rational. They don’t like spin, and short-termism, and the lies and distortions of politics as it has come to be done ‘to us’ over the last thirty or forty years.
So the invisible marchers of yesterday, we who won’t go away, we who do things, who know things, and who watch those in power, and are determined to hold them to account – you can pretend we don’t exist. For now.
See more from Yasmin Ali
Presenting the first monographic exhibition of Jakob + MacFarlane in Germany. The multidisciplinary and multicultural architecture studio, founded by Dominique Jakob and Brendan MacFarlane in 1997, is one of the most experimental offices operating in Paris. Projects like 'Frac' in Orleans, Restaurant 'Georges' at Centre Pompidou, 'Orange Cube' and 'Euronews Headquarters' in Lyon are the results of their unique mode of architectonic form-making, in which the firm developed, through exploration of digital technology - both as conceptual tool and as means of production - a distinctive, individualistic signature that simultaneously redefines local context.
Eight projects illustrating the characteristic and powerful architectural work of MacFarlane and Jakob: Georges Restaurant at the Pompidou Center, Paris (2000), the Docks of Paris – Cité de la Mode et du Design Paris (2008), Les Turbulences FRAC Centre in Orléans (2013), the Orange Cube – Lyon (2010), Maison Boulogne - Paris (2016), Herold Social Housing - Paris (2008), Conservatory of Music and Dance – Noisy le Sec (2017) and Frederic Malle Perfume Shop, Paris (2016).
Through its creativity and rigor Jakob + MacFarlane have achieved a worldwide reputation, receiving the International Architecture Award from the Chicago Athenaeum in 2014. Furthermore, they were nominated for the Mies van der Rohe European Architecture Award in 2015. Their projects have been exhibited in museums, including the Centre Pompidou in Paris, the SFMOMA in San Francisco, the Mori Art Museum in Tokyo, the Victoria & Albert Museum in London, the Venice Biennale in 2002, 2008 and 2016 and the Museum of Architecture in Moscow.
Location: Aedes Architecture Forum, Christinenstr. 18-19, 10119 Berlin
Exhibition : 1 April – 18 May 2017
Opening : Friday, 31 March 2017, 6:30 pm
Hours : Tuesday – Friday 11 am – 6:30 pm, Sunday – Monday 1 – 5 pm
A sneaky peek of the anticipated exhibition at the V& A by Sara Darling
This summer’s blockbuster exhibition at the V & A museum will be a well timed 100 years retrospective, which was founded by of Spanish fashion designer Cristóbal Balenciaga, whose groundbreaking designs changed fashion forever.
Showcasing pieces that you might recognise, but not realise were Balenciaga, such as the tulip skirt, shift dress, raglan sleeve and and boxy shoulders, he was noted by his contemporaries as being a genius, and setting the rules for 20th century high fashion.
Christian Dior called him “conductor to the haute couture’s orchestra”, and the ‘Balenciaga: Shaping Fashion’ show is a homage to much of his seen and unseen work. Allowing visitors to closely explore the complicated craftsmanship and attention to detail that went into his creations, and radically, the V & A have x-rayed one of his gowns to expose the underlying workmanship that keeps it in shape.
Balenciaga shaped fashion in the mid 20th century, like no other, and his influence has filtered through to designs today- with JW Andersen, Simone Rocha and Erdem as noticeable devotees. Interestingly, now Balenciaga is under the art direction of experimental nous of Demna Gvasalia, (from Vetements) and the house is gaining a new cult following for it’s creative and forward thinking designs.
The exhibition will showcase over 100 designs and drawings, alongside photographs of the some of the world’s most famous women who he dressed and is a must see for anyone who has a love of fashion.
Balenciaga: Shaping Fashion will be on show at the V&A, London May 27th 2017–February 18th 2018
More details here
If you had to pick a single image from every decade of the C20th and then use it to both sum up and tell the story of that decade, what photographs would you choose?
That was the task facing award winning historian and travel writer Rory Maclean
Pictures of You features a story from every decade of the 20th century, each based around a single image chosen by Rory Maclean. Ten real lives, ten photographs, ten decades, ten journeys in time.
Rory selected each single image from London's extraordinary and largely unknown Archive of Modern Conflict. Over the last 25 years the Holland Park Archive’s small collection of amateur photographs has grown into one of the world’s most moving image treasuries, its shelves now holding pictures of some four million lost lives.
Stories include the first killing of the Cold War, the ghosts of Native America at Alcatraz, Chairman Mao's most timid lover, the dying hopes of a doomed aviator, Nature’s final battle with Man.
Maclean travels from Siberia to Rangoon, China to Shepperton Studios, hearing forgotten voices that echo from the depths of time, picturing lives that mirror our own, and saving the stories behind these pictures of us all.
Pictures of You: Ten Journeys in Time
Published in the UK on March 2nd
Article: Christopher George
Working in mixed media and conceptual art, David Brognon and Stephanie Rollin are commenting on a world of conflict; Where territories in the land can be found mapped out as if scars and lacerations on human flesh.
Making extended video projects; they are as far away from Jeff Koons as imaginable. In film format, they are also harder to digest unlike a picture you would hang on a wall as decorative art.
Video works ‘The Agreement’ and ‘Cosmographia’ (Goree Island).
Brognon and Rollin have excavated the reality in unbalanced military actions and man’s brutal incarceration of fellow human.
The Agreement, a piece filmed at a football field in Jerusalem, where the goals are not face to face as one would normally imagine. The central point of the pitch is on the axis of one goal. The balance of the game is not respected, showing the irony of Israel’s position against Palestine, where the question of territories and habitation are unbalanced.
This video shows the youths counting distance with their feet, a negotiation to find a central point between the two goals allowing them to then make a new, more equal game.
“Remaining neutral can be part of the challenge, but it is not our position to take sides. Asking poetically political questions is what we are conscious of doing. It is always difficult when you start to plan a project and you have external questions in a very sensitive environment about what you are working on, and what is the outcome of the work.
So it is important to do a project on your own, with your own names, and not the name of the museum or institution. Otherwise you can receive outside aggravation from people presuming you will create an item that’s negative or critical of them”.
Having the ability to project their work from a neutral position leaves a void where you can then be distant as the viewer.
Referencing another work ‘Sabra Subbar’, which is the word for cactus in Israel and Palestine, and also a shared symbol of both countries.
In this film, the thorns are taken out of one cactus as a performance by the artists and placed back into another cactus.
This split screen film draws on the repetitive battle between both sides of the conflict. The geological mapping of the Palestinian land, by the cactus that originally formed the fences and borders between villages never dies. When the Israelis destroyed these villages, they didn’t realise the cactus would grow back after many years, preserving a record on the land of the previous borders.
In a culture becoming so restrictive and contradictory, it has become difficult to make sense of the oppression and the reasons behind rules imposed on the region. David Brognon and Stephanie Rollin are merely observing and reflecting what is documented in the land by repressive and religious dictatorships.
On asking how it is working together;
“It’s a living dream!! We know each other very well and want to do the best work we can. That’s the aim, not a question about more of Stephanie’s or David’s work, we don’t care about that. We want to focus on what will stay after our deaths. The universality and quality of the art works is what is important.”
With David coming from graffiti background and Stephanie from an academic one, this allows them to think from their own culture. Arriving at the same junction in their art from different paths proves to be a complementary union. Both artists share the rule that they have to be sure about the work they are producing. If one is not sure, that work will stop and be changed.
The fundamental basic message and the importance in Brognon and Rollin’s works is the social undercurrent. When tracing ‘Goree Island’ ‘House of Slaves’ or ‘Cosmographia’, it wasn’t simply mapping any island; it was tracing a prison island. An Island where slaves were held before being transported to the Americas.
With the overflow of art from artist with no substance, it is clear the important message is in their work. The protocol of social engagement is evident. Creating a debate, conversation, anger, questions and knowledge in the art industry, which has become so vacuous in its content.
“The label ‘An Artist’ can be very empty. We want to talk about art and open a debate. We do our works for a reason that’s not to be flattered.
These videos aren’t entertainment; they are correct and true. In our works we are talking about negotiations that have been going on between Israel and Palestine for years! Someone once had the criticism that the video was too long at 10 minutes. How ironic is that.”
David Brognon & Stephanie Rollin
Art marketplace Artfinder today publishes a report drawing attention to the differences in representation between the high-end art world and its own marketplace, where the gender balance of artists is 48% men, 52% women, with women selling more art than men, faster and for greater total value. Women on Artfinder sell nearly 40% more art, they sell their work 16% faster and for every £1m of art men sell, women sell £1.16m.
By contrast just 1 of the top 100 lots sold at auction in 2015 was by a woman, and none of the top ten richest living artists are women.
Jonas Almgren, Artfinder CEO comments:
“We’ve known for a long time that our artists have pretty much a 50/50 gender balance, which is unusual in the art world. What we didn’t realise was how much passion, emotion and anger this campaign would stir up. Women are still woefully underrepresented in the high-end art world and it’s remarkably overlooked as an issue. One of the biggest problems is a lack of reliable data, so that’s where we’re starting. As well as publishing
our own data, we’re asking the world’s art institutions, museums and galleries to share their data. We know that will be a long and difficult road, but we’re taking the first step by publishing our data, and we hope that others will take on that mantle.”
In the run-up to International Women’s Day on 8th March, Artfinder will write to every major art institution in the UK and the US asking them to share their data, publishing results and responses throughout the campaign. There is also a ‘citizen journalism’ aspect to the project, in which the public are being asked to go to their local institution and count how many works are by men and by women and post them on social media using the hashtag #ArtWorldSexism.
SIGN THE PLEDGE
Article: George Monbiot
How a dark money network is taking power on both sides of the Atlantic.
It took corporate America a while to warm to Donald Trump. Some of his positions, especially on trade, horrified business leaders. Many of them favoured Ted Cruz or Scott Walker. But once he had secured the nomination, the big money began to recognise an unprecedented opportunity.
Trump was prepared not only to promote the cause of corporations in government, but to turn government into a kind of corporation, staffed and run by executives and lobbyists. His incoherence was not a liability but an opening: his agenda could be shaped. And the dark money network that some American corporations had already developed was perfectly positioned to shape it.
Dark money is the term used in the US for the undisclosed funding of organisations involved in political advocacy. Few people would see a tobacco company as a credible source on public health, or a coal company as a neutral commentator on climate change. To advance their political interests, such companies must pay others to speak on their behalf.
Soon after the Second World War, some of America’s richest people began setting up a network of thinktanks to promote their interests. These purport to offer dispassionate opinions on public affairs. But they are more like corporate lobbyists, working on behalf of those who founded and fund them. These are the organisations now running much of the Trump administration.
We have no hope of understanding what is coming until we understand how the dark money network operates. The remarkable story of a British member of parliament provides a unique insight into this network, on both sides of the Atlantic. His name is Liam Fox. Six years ago, his political career seemed to be over.
The scandal he had caused by mixing his private and official interests, that was highly embarrassing to David Cameron’s government, had forced him to resign as Secretary of State for Defence. But today he is back on the front bench, with a crucial and sensitive portfolio: Secretary of State for International Trade.
In 1997, the year the Conservatives lost office to Tony Blair, Liam Fox, who sits on the hard right of the parliamentary Conservative party, founded an organisation called The Atlantic Bridge. Its patron was Margaret Thatcher. On its advisory council sat the future cabinet ministers Michael Gove, George Osborne, William Hague and Chris Grayling. Fox, who became a leading campaigner for Brexit, described the mission of The Atlantic Bridge as “to bring people together who have common interests”. It would defend these interests from “European integrationists who would like to pull Britain away from its relationship with the United States”.
The Atlantic Bridge was later registered as a charity. It was part of the UK’s own dark money network: only after it collapsed did we discover the full story of who had funded it.
Its main sponsor was the immensely rich Michael Hintze, who worked at Goldman Sachs before setting up his own hedge fund, CQS. Hintze is one of the Conservative party’s biggest donors. In 2012, he was revealed as a funder of the Global Warming Policy Foundation, that casts doubt on the science of climate change. As well as making cash grants and loans to The Atlantic Bridge, he lent Liam Fox his private jet to fly to and from Washington.
Another funder was the drug company Pfizer. It paid for a researcher at The Atlantic Bridge called Gabby Bertin. She went on to become David Cameron’s press secretary, and now sits in the House of Lords: Cameron gave her a life peerage in his resignation honours list.
In 2007, a group called the American Legislative Exchange Council (ALEC) set up a sister organisation, The Atlantic Bridge Project, to run the US arm of Fox’s initiative. ALEC is perhaps the most controversial of the corporate-funded thinktanks in the US. It specialises in bringing together corporate lobbyists with state and federal legislators to develop “model bills”. The legislators and their families enjoy lavish hospitality from the group, then take the model bills home with them, to promote as if they were their own initiatives.
ALEC has claimed that over 1000 of its bills are introduced by legislators every year, and one in five of them becomes law.
It has been heavily funded by tobacco companies, the oil company Exxon, drug companies and Charles and David Koch: the billionaires who founded the first Tea Party organisations. Pfizer, that funded Gabby Bertin’s post at The Atlantic Bridge, sits on ALEC’s corporate board. Some of the most contentious legislation in recent years, such as state bills lowering the minimum wage, bills granting corporations immunity from prosecution and the “ag-gag” laws, forbidding people to investigate factory farming practices, were developed by ALEC.
To run the US arm of Atlantic Bridge, ALEC brought in its director of international relations, Catherine Bray. She is a British woman who had previously worked for the Conservative member of the European Parliament Richard Ashworth and the UKIP member Roger Helmer. She has subsequently worked for the man who brought us Brexit, Daniel Hannan. In 2015, she married Wells Griffith, who became the battleground states director for Trump’s presidential campaign.
Among the members of The Atlantic Bridge’s US advisory council were the ultra-conservative senators James Inhofe, Jon Kyl and Jim DeMint. James Inhofe is reported to have received over $2 million in campaign finance from coal and oil companies. Both Koch Industries and ExxonMobil have been major donors. Coincidentally, he has described man-made global warming as “the greatest hoax ever perpetrated on the American people”.
Jon Kyle, now retired, is currently acting as the “sherpa” guiding Jeff Sessions’s nomination as Trump’s attorney general through the Senate.
Jim DeMint resigned his seat in the Senate to become president of the Heritage Foundation, which is probably, after ALEC, the second most controversial thinktank in America. It was founded with a large grant from Joseph Coors, heir to the Coors brewing empire, then built up with money from the banking and oil billionaire Richard Mellon Scaife. Like ALEC, it has been richly funded by the Koch Brothers. Heritage, under DeMint’s presidency, drove the attempt to ensure that Congress refused to pass the federal budget, temporarily shutting down the government. Fox’s former special adviser at the Ministry of Defence, an American called Luke Coffey, now works for the foundation.
The Heritage Foundation is now at the heart of Trump’s administration. Its board members, fellows and staff comprise a large part of his transition team. Among them are Rebekah Mercer, who sits on Trump’s executive committee, Steven Groves and Jim Carafano (State Department), Curtis Dubay (Treasury) and Ed Meese, Paul Winfree, Russ Vought and John Gray(Management and Budget). CNN reports that “no other Washington institution has that kind of footprint in the transition”.
Trump’s extraordinary plan to cut federal spending by $10.5 trillion was drafted by the Heritage Foundation, which called it a “Blueprint for a New Administration”. Russ Vought and John Gray, who moved onto Trump’s team from Heritage, are now turning this blueprint into his first budget.
It will, if passed, inflict devastating cuts on healthcare, social security, legal aid, financial regulation and environmental protections, eliminate programmes to prevent violence against women, to defend civil rights and fund the arts, and will privatise the Corporation for Public Broadcasting. Trump, as you follow this story, begins to look less like a president and more like an intermediary: implementing an agenda that has been handed down to him.
In July last year, soon after he became trade secretary, Liam Fox flew to Washington. One of his first stops was a place he has visited often over the past 15 years: the office of the Heritage Foundation, where he spoke among others to Jim DeMint. A freedom of information request reveals that one of the topics raised at the meeting was the European ban on American chicken washed in chlorine: a ban that producers hope the UK will lift under a new trade agreement. Afterwards, Fox wrote to DeMint, looking forward to “working with you as the new UK government develops its trade policy priorities, including in high value areas that we discussed such as defence.”
How did Fox get to be in this position, after the scandal that brought him down six years ago? The scandal itself provides a possible clue: it involved a crossing of the boundaries between public and private interests. The man who ran the UK branch of The Atlantic Bridge was his friend Adam Werrity, who operated out of Michael Hintze’s office building. Werrity’s work became entangled with Liam Fox’s official business as defence secretary. Werritty, who carried a business card naming him as Fox’s adviser but was never employed by the Ministry of Defence, joined the secretary of state on numerous ministerial visits overseas, and made frequent visits to Fox’s office.
By the time details of this relationship began to leak, the Charity Commission had investigated The Atlantic Bridge and determined that its work didn’t look very charitable. It had to pay back the tax from which it had been exempted (Hintze picked up the bill). In response, the trustees shut the organisation down. As the story about Adam Werrity’s unauthorised involvement in the business of government began to grow, Fox made a number of misleading statements. He was left with no choice but to resign.
So when Theresa May brought him back into government, and gave him a portfolio that should, in principle, involve setting clear boundaries between public and private interests, it was as strong a signal as we might receive about the intentions of her government.
The trade treaties that Fox is charged with developing set the limits of sovereignty. US food and environmental standards tend to be lower than ours, and they will become lower still if Trump gets his way. Any trade treaty we strike will create a common set of standards for products and services. Trump’s administration will demand that ours are adjusted downwards, so that US corporations can penetrate our markets without having to modify their practices. All the cards, following the Brexit vote, are in US hands: if the UK resists, there will be no treaty. What May needed – even before Trump became president – was a person prepared to strike such a deal.
As the Financial Times reports, “the election of Donald Trump has transformed the fortunes of Liam Fox”. He is now “an indispensable member of Theresa May’s front bench team”. The shadow diplomatic mission he developed through The Atlantic Bridge plugs him straight into the Trump administration.
Long before Trump won, campaign funding in the US had systematically corrupted the political system. A new analysis by US political scientists finds an almost perfect linear relationship, across 32 years, between the money gathered by the two parties for congressional elections and their share of the vote. But there has also been a shift over these years: corporate donors have come to dominate this funding.
By tying our fortunes to those of the United States, the government binds us into this system. This is part of what Brexit is about: European laws protecting the public interest were portrayed by Conservative Eurosceptics as intolerable intrusions on corporate freedom. Taking back control from Europe means closer integration with the US. The transatlantic special relationship is a special relationship between political and corporate power.
In April 1938, President Franklin Roosevelt sent the US Congress the following warning. “The liberty of a democracy is not safe if the people tolerate the growth of private power to a point where it becomes stronger than their democratic state itself. That, in its essence, is fascism.” It is a warning we would do well to remember.
Queer City is a unique collaboration between the National Trust and The National Archives that will re-create ‘London’s most bohemian rendezvous’, The Caravan, a queer friendly members club. The recreation will take place at the well-known Freud Café-Bar on almost the exact site of the original club. The Caravan, ‘the most unconventional spot in town’, existed at a time when being openly gay frequently led to prosecution and imprisonment. In 1934, it was raided and closed by police.
Photographs, court reports, police papers and witness statements on The Caravan and other clubs of the era will be used to re-create the striking bohemian interior of the underground club. Selected from The National Archives’ extensive collection, these documents reveal great detail and insights into club culture and the everyday prejudices facing the homosexual community at the time. This exciting reconstruction will form the focal point of a month of tours of LGBTQ+ heritage and queer club culture throughout Covent Garden and Soho. Examples of these documents will also be displayed downstairs at Freud Café-Bar.
As well as tours, there will be an exciting programme of themed talks, debates and performances capturing the spirit of The Caravan and wider queer club culture. Evening openings will allow a strictly limited number of ticket holders to enjoy club ‘membership’ where the expert bartenders of Freud Café-Bar will be providing a bespoke cocktail menu complete with drinks drawn from clubs of the era.
Joseph Watson, London Creative Director for the National Trust comments, “While the project will be an opportunity to celebrate the partial decriminalisation of same sex relationships, it will also confront the realities of those lives that were fettered, destroyed, or worse, by prejudice of that era. It provides a timely reminder of the importance of side-lined cultures to our national heritage.”
Freud Café-Bar, 198 Shaftesbury Avenue, London WC2H 8JL
Thursday 2nd – Sunday 26th March 2017
Tickets and further information visit
HOSTED BY ROMESH RANGANATHAN WITH JO BRAND AND KEVIN BRIDGES.
An Evening Of Comedy for Teenage Cancer Trust is now jam packed with even more of the finest comedians the UK has to offer.
We are excited to announce that Seann Walsh, Russell Kane, Mike Wilmot and Tom Allen will be joining Romesh Ranganathan at The Royal Albert Hall this March, to complete an unbeatable line up of laughter.
The evening is already sold out, but a very limited number of choir seats to the left and right of the stage will be released to give more fans a chance to join in the fun. Tickets go on sale 9am Friday 27 January.
As well as welcoming comedy’s finest, Teenage Cancer Trust also brings you some of Britain’s biggest music legends: Alongside two special shows from The Who (March 30th and April 1st), Olly Murs, will perform for us for the first time (March 27th), Modfather and valued Teenage Cancer Trust supporter Paul Weller returns (March 31st) and the brilliant Pet Shop Boys (April 2nd) with guitar legend Johnny Marr and the Royal Philharmonic Concert Orchestra complete the line up of British music legends.
TEENAGE CANCER TRUST AT THE ROYAL ALBERT HALL IN ASSOCIATION WITH ALDI
Monday 27 March: Olly Murs
Wednesday 29 March: An evening of comedy hosted by Romesh Ranganathan - with special guests Jo Brand, Kevin Bridges, Russell Kane, Mike Wilmott and Tom Allen
Thursday 30 March: *100th Show* - The Who Play Tommy
Friday 31 March: Paul Weller
Saturday 1 April: The Who Play Tommy
Sunday 2 April: Pet Shop Boys with Johnny Marr and the Royal Philharmonic Concert Orchestra
Tickets on sale 9am Friday 27 January from:
gigsandtours.com 0844 811 0051
ticketmaster.co.uk 0844 844 0444
royalalberthall.com 0845 401 5030
Article: Ross Pollard
Illustration: Mitch O'Connell
I refuse to be silent, I refuse to accept that attacks on women, attacks on the LGBT community, attacks on Mexicans or attacks on any marginalised group in society are a valid view point. I refuse to accept that a directive banning refugees that is a front for an attack on a religion is a valid way for any human to behave.
Donald Trump in his first week has launched attacks on almost any minority he can find. This racist bully sees himself as some kind of crusading knight handing back America to Americans. Mr Trump these groups are American, they are America, the nation exists as a melting pot of people, backgrounds, faiths, sexuality and ideas.
The thing that doesn't live up to those timeless values written on that statue in New York is you, you have defiled the constitution, the founding principles of the nation and the idea of the American dream. You have torn up the beautiful ideas of freedom that once made a nation so great, you've taken the thoughts of that Philadelphia congress and the liberty it demanded and poured it into the sewer you ideologically inhabit.
But I know this isn't just on you, you told people this is what you'd do, you in these troubled times were being honest, however that doesn't make it right. You gave people a choice, a disgusting, fetid, vile choice but a choice none the less. The pain, suffering and hurt felt by the people who you attack isn't just on you, the blood will also be on those millions who ticked that box to elect you president.
America you face a choice, you can still reverse this, you don't just have to be a Democrat, many Republicans claim to be unhappy and outraged, add your voices to the objections, join the chorus calling on both houses in Washington to block, oppose and frustrate the pogroms of this President. I point you back to the opening line that silence is acceptance, if not you need to go to Liberty Island and replace that proud plaque . .
Give me your tired, your poor,
Your huddled masses yearning to breathe free,
The wretched refuse of your teeming shore,
Send these, the homeless, the tempest tossed,
I lift my lamp beside the golden door.
Because you'll no longer live up to it.
Reporting on culture travel, creative events and social issues.
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