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Spectator Competition: Who's who?

Spectator Competition: Who's who?

Spectator3 days ago

For Competition 3405 you were invited to submit a scene in which Doctor Who has regenerated into someone very unexpected. Plenty of interesting transformations resulted, featuring among others Paddington Bear, Mary Berry and two Jacob Rees-Moggs, but the winners of the £25 vouchers are below.
The Doctor, regenerating as a tall, meaty-faced man in jeans, a plaid shirt and his mid-sixties, soon got clumsily busy for comic effect with screwdrivers, sonic and otherwise, setting about the Tardis console and causing Fleetwood Mac to play at excessive volume before sending us zagzigging erratically across spacetime on a far from grand tour. 'What could possibly go wrong?' he bellowed, overemphasising every word in apparent exoneration of his haphazard driving skills. When finally we materialised, it was in a sodden wheat field near Chipping Norton and Daleks were massing. 'I've seen off South Oxfordshire Council,' The Doctor chuntered, 'so this lot should be an absolute doddle.' Utilising the element of surprise, The Doctor whipped off the top of each Dalek to reveal inside a startled, black-clad gay ballet dancer. They fled, The Doctor pursuing them for the damage they'd done to what turned out to be his durum wheat.
Adrian Fry
Jax watched helplessly from behind the containment field as The Doctor melted and reformed. She was astonished to see a middle-aged, portly, bald white man in a blue suit, with a mauve tie that overlapped his name tag on its lanyard. Only the letters 'Ric H' were visible. 'Help, Doctor, get me out!' she yelled.
'Alas, Jax, a writ of habeas corpus does not run on Chagos. Although some Time Lords hold that Gallifreyan law is 'grandfathered' from the colonial period, the better view is that, absent positive Xiblaxian law –'
'Then use the sonic screwdriver!'
'It's a Level 5 quantum-electric emitter, not lic-ensed here, I'm afraid.'
'But we have to stop the Xiblaxians invading Earth!'
'Their not being signatories to the Galactic Sentient Rights Treaty, whereas Earth is, makes that intricately tricky.'
In desperation, Jax transformed herself into a co-elenterate and oozed through a gap in the field…
Frank Upton
The Tardis, looking strangely like a muddy Range Rover, came crashing Earthwards into an armour-strewn wheat field. Out stepped a man in red corduroy trousers and a chequered jacket. 'All right, then, Ange,' he said, 'where are we?' A flame-haired Deputy Time Lord in high-vis vest and golden training shoes read from her chart: 'Well, Doctor –'
'Hang about. Just call me Nige when the cameras aren't watching. I'm so thirsty after all that warp speed stuff. Got a fag, by the way?'
'Yiss, Nige, but they 'aven't been invented yet. We're in medieval France, right near't'end o't'Undred Years' War wi' England.'
'Right, so we've got three immediate ishoos for this latest series. One, how do I introduce tobacco to 15th-century Europe? Two, at least one episode must be called 'Daleks in Best Bitter Battle'. And three, why stop after only 100 years? This English/French stuff could run and run!'
Nicholas Lee
Regenerated, The Doctor proved a conservatively dressed, fogeyishly fastidious old Etonian whose preferred method of communication was the newspaper article. He immediately set about having the Tardis refurbished after the manner of a Georgian rectory, particularly concerned not to own a television, for all that he would be pursued across spacetime for a licence. Said Tardis, reliably unreliable, haphazardly materialised on alien worlds or at historical periods beset by extraterrestrial incursions unrecorded even in Macaulay. This new Doctor, rising above such nonsenses, tarried onlywhere anecdotes about Margaret Thatcher might be authenticated or country sports freely engaged in. If his forthright, witty arguments failed to convince the Daleks of the folly of authoritarianism, it can only have been that they did not number among his readers. His symposium in a disused quarry with Walter Bagehot and T.E. Utley on constitutional democracy will be published here, culminating in the traditional cliffhanger.
Russell Clifton
Their time had come at last. For millennia the Time Lords had thwarted the Daleks' universe-conquering ambitions. Now the Lords were tired and predictable, their clock was running down. This time they had failed to find their human stooge. Ha! The invincible Daleks would rumble forwards, exterminating everything in their path.
Their Doctors had always been ridiculous figures – a hammy old man, a TV scarecrow, lots of boring white Englishmen. There was even a Scotch one. As for the woman and the black African! – woke Time Lords: what a joke! Things were hotting up on Planet Earth; the next encounter would be Armageddon for those feeble poseurs.
The familiar screeching sound approached, the Daleks awaited their moment of triumph. The door opened and a giant lettuce appeared, screaming, 'I was right all along. We have ten years to save the West!'
Basil Ransome-Davies
The Tardis slowly stopped spinning, teeter–tottered for a moment, then fell on its side. The front door (now the roof) was pushed open and a portly middle–aged man awkwardly clambered out. He was wearing a dark blue suit and matching tie, charmingly paired with a bright yellow life-jacket. He ran his hands over himself, noting the bulging belly, balding pate and thick jowls. He looked horrified. 'No,' he gasped. 'Surely not. Can I really have regenerated as… Ed Davey?' At that moment a Dalek materialised, making vague robotic threats. Doctor Davey-Who fumbled in his jacket for his sonic screwdriver, dropped it, tripped over his trouser legs and fell in a pond where, bobbing gently, he felt grateful for his lifejacket. A passing canoeist tried to help. Doctor Davey-Who somehow upended the vessel and both men were now floundering. The Dalek, watching from the sidelines, said: 'Ex…traordinary. What an idiot.'
Joseph Houlihan
No. 3408: Some like it hot
You are invited to submit a poem about heatwaves (16 lines maximum). Please email entries to competition@spectator.co.uk by midday on 9 July.

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Spectator Competition: Who's who?
Spectator Competition: Who's who?

Spectator

time3 days ago

  • Spectator

Spectator Competition: Who's who?

For Competition 3405 you were invited to submit a scene in which Doctor Who has regenerated into someone very unexpected. Plenty of interesting transformations resulted, featuring among others Paddington Bear, Mary Berry and two Jacob Rees-Moggs, but the winners of the £25 vouchers are below. The Doctor, regenerating as a tall, meaty-faced man in jeans, a plaid shirt and his mid-sixties, soon got clumsily busy for comic effect with screwdrivers, sonic and otherwise, setting about the Tardis console and causing Fleetwood Mac to play at excessive volume before sending us zagzigging erratically across spacetime on a far from grand tour. 'What could possibly go wrong?' he bellowed, overemphasising every word in apparent exoneration of his haphazard driving skills. When finally we materialised, it was in a sodden wheat field near Chipping Norton and Daleks were massing. 'I've seen off South Oxfordshire Council,' The Doctor chuntered, 'so this lot should be an absolute doddle.' Utilising the element of surprise, The Doctor whipped off the top of each Dalek to reveal inside a startled, black-clad gay ballet dancer. They fled, The Doctor pursuing them for the damage they'd done to what turned out to be his durum wheat. Adrian Fry Jax watched helplessly from behind the containment field as The Doctor melted and reformed. She was astonished to see a middle-aged, portly, bald white man in a blue suit, with a mauve tie that overlapped his name tag on its lanyard. Only the letters 'Ric H' were visible. 'Help, Doctor, get me out!' she yelled. 'Alas, Jax, a writ of habeas corpus does not run on Chagos. Although some Time Lords hold that Gallifreyan law is 'grandfathered' from the colonial period, the better view is that, absent positive Xiblaxian law –' 'Then use the sonic screwdriver!' 'It's a Level 5 quantum-electric emitter, not lic-ensed here, I'm afraid.' 'But we have to stop the Xiblaxians invading Earth!' 'Their not being signatories to the Galactic Sentient Rights Treaty, whereas Earth is, makes that intricately tricky.' In desperation, Jax transformed herself into a co-elenterate and oozed through a gap in the field… Frank Upton The Tardis, looking strangely like a muddy Range Rover, came crashing Earthwards into an armour-strewn wheat field. Out stepped a man in red corduroy trousers and a chequered jacket. 'All right, then, Ange,' he said, 'where are we?' A flame-haired Deputy Time Lord in high-vis vest and golden training shoes read from her chart: 'Well, Doctor –' 'Hang about. Just call me Nige when the cameras aren't watching. I'm so thirsty after all that warp speed stuff. Got a fag, by the way?' 'Yiss, Nige, but they 'aven't been invented yet. We're in medieval France, right near't'end o't'Undred Years' War wi' England.' 'Right, so we've got three immediate ishoos for this latest series. One, how do I introduce tobacco to 15th-century Europe? Two, at least one episode must be called 'Daleks in Best Bitter Battle'. And three, why stop after only 100 years? This English/French stuff could run and run!' Nicholas Lee Regenerated, The Doctor proved a conservatively dressed, fogeyishly fastidious old Etonian whose preferred method of communication was the newspaper article. He immediately set about having the Tardis refurbished after the manner of a Georgian rectory, particularly concerned not to own a television, for all that he would be pursued across spacetime for a licence. Said Tardis, reliably unreliable, haphazardly materialised on alien worlds or at historical periods beset by extraterrestrial incursions unrecorded even in Macaulay. This new Doctor, rising above such nonsenses, tarried onlywhere anecdotes about Margaret Thatcher might be authenticated or country sports freely engaged in. If his forthright, witty arguments failed to convince the Daleks of the folly of authoritarianism, it can only have been that they did not number among his readers. His symposium in a disused quarry with Walter Bagehot and T.E. Utley on constitutional democracy will be published here, culminating in the traditional cliffhanger. Russell Clifton Their time had come at last. For millennia the Time Lords had thwarted the Daleks' universe-conquering ambitions. Now the Lords were tired and predictable, their clock was running down. This time they had failed to find their human stooge. Ha! The invincible Daleks would rumble forwards, exterminating everything in their path. Their Doctors had always been ridiculous figures – a hammy old man, a TV scarecrow, lots of boring white Englishmen. There was even a Scotch one. As for the woman and the black African! – woke Time Lords: what a joke! Things were hotting up on Planet Earth; the next encounter would be Armageddon for those feeble poseurs. The familiar screeching sound approached, the Daleks awaited their moment of triumph. The door opened and a giant lettuce appeared, screaming, 'I was right all along. We have ten years to save the West!' Basil Ransome-Davies The Tardis slowly stopped spinning, teeter–tottered for a moment, then fell on its side. The front door (now the roof) was pushed open and a portly middle–aged man awkwardly clambered out. He was wearing a dark blue suit and matching tie, charmingly paired with a bright yellow life-jacket. He ran his hands over himself, noting the bulging belly, balding pate and thick jowls. He looked horrified. 'No,' he gasped. 'Surely not. Can I really have regenerated as… Ed Davey?' At that moment a Dalek materialised, making vague robotic threats. Doctor Davey-Who fumbled in his jacket for his sonic screwdriver, dropped it, tripped over his trouser legs and fell in a pond where, bobbing gently, he felt grateful for his lifejacket. A passing canoeist tried to help. Doctor Davey-Who somehow upended the vessel and both men were now floundering. The Dalek, watching from the sidelines, said: 'Ex…traordinary. What an idiot.' Joseph Houlihan No. 3408: Some like it hot You are invited to submit a poem about heatwaves (16 lines maximum). Please email entries to competition@ by midday on 9 July.

Stereophonic: all the sex, drugs, tears and boredom of true rock 'n' roll
Stereophonic: all the sex, drugs, tears and boredom of true rock 'n' roll

New Statesman​

time5 days ago

  • New Statesman​

Stereophonic: all the sex, drugs, tears and boredom of true rock 'n' roll

Photo by Marc Brenner The Fleetwood Mac model is the only one you can use to tell the story of a fictional band these days, because there are two women at its core, they're allies, and they both write songs: all the problems of the Seventies rock world are sidestepped right there. And so, in Stereophonic, we watch five men and women, Brits and Americans – all of whom could potentially be shagging each other, though some are also married to each other – slinking around looking dazzling, making a Rumours-style masterpiece, in the wondrous days when everything was brown. Arriving from Broadway fizzing with five-star energy, the show looks just like Amazon Prime's Daisy Jones and the Six, which was carried along by Elvis's astonishing granddaughter Riley Keough. But the challenges chosen by the writer David Adjimi, who took five years to do this script, are more eccentric: how to make two of the dullest settings – the windowless recording studio, and the circular, drug-fuelled diatribe – into something you actually want to see. The play is set entirely behind the mixing desk, over a period that should have been a month and ended up a year, and it asks the question I have always wondered about: how the hell is this setting conducive to creativity? The music starts and is instantly stopped, because there's not enough EQ on the mike, because people are arguing, and because each day begins with every band member completely trashed from the night before. The coffee machine is broken, but coke's the 'same thing', and the 'bag', as it's referred to, is a character of its own – around 2lbs of white powder swung about like a medieval mace. My throat tickled from the smell of earthy faux fags onstage. The problem with fictional bands has always been portraying songwriting and recording on stage or screen. It is impossible to make it interesting, unless it's Get Back and you're the Beatles. It is an internal wonder, a mental process: too often directors resort to what I call the 'Hey guys, what do you think of this' moment, when a deathless hit emerges in three spontaneous chords. Stereophonic is more realistic than this, and its realism is the heart of its success – at one point, six days' of studio time are given over to getting the sound of a snare right. The realism extends to a script that I found fresh in ways I can't fully explain. The characters – high, emotionally wounded, or giddy with cabin fever – talk nonsense as well as sense, and Adjimi exploits the originality in coke-fuelled language: bassist Reg is a 'sad man in a blanket'; English toff drummer Simon is trying to clean him up but, equally stoned, proposes going home to make dinner and try out his grandmother's recipe of a 'chicken smashed by a brick'. Band members start a speech in puffed up arrogance or make a desperate bid for creative independence – then find their ideas derailing mid flow, and shrink back and forth between self-expression and conformity in a way that feels truly psychological. At the heart of the web is the coercive singer-guitarist Peter (Jack Riddiford) – the Lindsay Buckingham to Diana's Stevie Nicks: she, played by Lucy Karczewski, has five songs on the album, more than anyone else, but her husband can't handle it, and whenever she presents something, he stares off with hate into the middle distance. He sold her guitar seven years ago ('I was going to learn it!' she sobs) and she's never had anything to do with her hands: all Peter can suggest is a Nicksian wave of the fingers. Arcade Fire's Will Butler, who wrote the music, probably wishes he'd been working in the Seventies – many musicians do. I thought Stereophonic was an immersive album experience, a kind of West End gimmick, and I was looking forward to it, but the music is more incidental than that, though it fleshes out in increasingly long studio sessions as the album gets written, flopping or firing up depending on what kind of day they're having. It's quite a thing to see the cast playing their instruments live: vocal takes are done in real time and laid on backing tracks right there in front of you. The real star is probably Eli Gelb, who plays the engineer schlub Grover, with a voice like Jonah Hill. He got the gig pretending he'd worked for the Eagles: his partner, the gnome-like Charlie, is only there because he's 'cousins with the main Doobie Brother'. Together, backs to the audience, all tight buttocks and flared jeans, they provide bemused commentary on the peacocks behind the glass. In the unseen outside world, the band's previous album goes to number one. 'I think we're really famous,' says someone. It doesn't look that great from here. Subscribe to The New Statesman today from only £8.99 per month Subscribe [See also: The search for queer cinema] Related

I saw Rumours of Fleetwood Mac live in Glasgow
I saw Rumours of Fleetwood Mac live in Glasgow

Glasgow Times

time6 days ago

  • Glasgow Times

I saw Rumours of Fleetwood Mac live in Glasgow

Every music fan has a soft spot for Fleetwood Mac - and with good reason. The legendary band's back catalogue is packed with some of the greatest songs of all time - and those tracks were celebrated in spectacular style by Rumours of Fleetwood Mac during their tribute at the Royal Concert Hall tonight. Opening up with a quick video message from the main man himself, Mick Fleetwood, the band were given his seal of approval before they kicked off the show with Gypsy. (Image: Rumours of Fleetwood Mac. Picture by Matt Ford.) Keyboardist Sophie Worsley, who took on the late Christine McVie's vocals, then promised: 'Tonight we are going to celebrate six decades of music from arguably the best pop rock band of all time.' And there were no arguments from the audience as she then launched into the funky You Make Loving Fun. Bandmate Jess Harwood then transported the crowd into the world of Stevie Nicks, capturing her vocals beautifully on Sara before Worsley gave fans a moment to remember with her rendition of the ballad Songbird. The Chain, of course, amped up the atmosphere with the crowd erupting into a cheer for its famous instrumental rift. It's a masterpiece live; there is nothing else quite like it. Equally impressive was James Harrison's vocals on the hit, with him easily mimicking the rockier tones in Lindsey Buckingham's voice. READ NEXT: The story of Stevie Nicks and Fleetwood Mac in Glasgow READ NEXT: 'Glasgow is great': Fleetwood Mac tribute act to rock city show this summer (Image: Rumours of Fleetwood Mac. Picture by Matt Ford.) The 1970 release The Green Manalishi (With the Two Prong Crown) opened up the second half of the show, paying homage to the band's origins and founder Peter Green. Then more of a British Blues band, this era was responsible for the 1968 hit Albatross which sounded magnificent live. The night was a complete celebration of Fleetwood Mac with each musician capturing the heart of the music. Their musicianship, individual vocals, and harmonies created a magic on stage that was originally the catalyst for Fleetwood Mac's success, and it was wonderful to watch. (Image: Rumours of Fleetwood Mac. Picture by Matt Ford.) READ NEXT: I saw Anastacia live in Glasgow - and she revealed her Scottish 'addiction' READ NEXT: I saw Gabrielle in Glasgow and this 90s singer kicked off the show - my verdict (Image: Rumours of Fleetwood Mac. Picture by Matt Ford.) A highlight was Harwood's rendition of Silver Springs, a song Nicks wrote about the breakdown of her relationship with Buckingham. Harwood even gave her Rumours bandmate Harrison that famous on-stage stare down for the climax of the song. Then the party really got started as the band belted out hit after hit, including Tell Me Lies, Nicks' solo effort Edge of Seventeen and Everywhere. While Go Your Own Way, Don't Stop, Dreams, and Tusk rounded off an incredible show before Harrison signed off: 'You're such a great city, you always deliver.' Although the chances of a Fleetwood Mac reunion today remain slim, their music lives on through Rumours, and what a wonderful legacy they celebrate.

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