The Joy of Six 1236

"But the personal consequences for Rafiq have been just as severe. Since the moment he stepped before the digital, culture, media and sport ... committee, he has faced relentless abuse, attacks and death threats. 'My life changed over that hour and 45 minutes,' he says in his soft Barnsley accent. His new memoir, It’s Not Banter, It’s Racism, recounts some of the worst moments: the human excrement left on his parents' lawn, the chain-wielding man who stalked his house in the middle of the night." Azeem Rafiq talks to Emma John about racism, cricket and why he had to leave Britain.

Simon James welcomes the way the Liberal Democrat manifesto puts arts education at the centre of the party's plans for culture.

Liam O'Farrell went to a talk by John Rogers on his new book about London: "Rogers delves into the city’s ancient history following a chance conversation with a Pearly Punk King on the rooftop of the old Foyles building. This encounter takes him through Epping Forest to the prehistory of London in the Upper Lea Valley, unearthing Bronze Age burial mounds and their significance in understanding London’s historical roots and its enduring connection to its past."

"Putting Peter Grimes on stage was not as straightforward as it might have been. Initially, the story, scenario and the characters underwent substantial changes in the early stages of drafting. At first, Britten had Grimes murdering his apprentices rather than being at worst negligent, and Grimes originally goes mad in the marshes and dies there." Georg Predota looks back to 1945 and the Saddler's Wells premiere of Benjamin Britten's opera.

Ian Vince goes in search of ley lines. " What [Alfred] Watkins saw convinced him that there was a grid of secret lines in the Herefordshire countryside; a network of mounds, hummocks and tumps, moats, megaliths and camps that coalesced to form the nodes of a prehistoric track system."

"Hamer’s use of locations throughout the film is distinctive and surprisingly gothic at times. From seemingly innocuous suburbia and Edwardian retreats to country seats, castles and villages, the breadth of locations gives the film a visual strength above its more studio-bound peers." Adam Scovell revisits the locations use in the 1949 Ealing comedy Kind Hearts and Coronets.