The Twelfth Symphony - 1

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The Twelfth Symphony is not Vsevolod Tarasevich's most popular photograph; it is not considered to be particularly influential, but it is my favourite photograph. Captured in 1961 during an intermission of his 12th symphony, the candid nature of Shostakovich's portrait is a departure not often seen in this time period, fitting for his antagonism towards musical convention and the Soviet establishment that had suppressed his work. In 1960 Shostakovich joined the communist party, a decision which has been interpreted as a capitulation to his government. The photograph gives a sense of his position, a man being used for political purposes beyond his control, a man constantly under scrutiny, always under observation.

AMADEUS - 2

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Amadeus is by all accounts a masterpiece; every frame feels as if it were a period painting, designed and polished. The warm colour palette of the operas exhibits the opulent setting of the National Theatre beautifully. The dedication to lighting scenes with only candles shows a thorough and considered attention to detail. The use of Mozart's music is perfect, adding exactly the correct tone to the scenes that feature it. Tom Hulce and F. Murray portray a wonderfully antagonistic relationship disguised by the pleasantries of the 18th century. I admire the liberties that are taken with the historical source material, though these liberties largely originate in Alexander Pushkin's dramatisation of Mozart's life.

MAUS - 3

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Maus is the seminal work of Art Spiegelman. Inspired by woodcut novels, the art style is captivating in its simplicity, leaving exactly the correct breathing room for the story to flourish. Vladek, the main narrator, recounts his memories of the Holocaust in such a way as to engross the reader entirely, pulling them into the conversation between him and his son. Maus is, in a sense, an autobiography of an autobiography; the process of the interviews allows the events to feel much more personal, as if we are in the room, having the story told to us, ourselves. Maus supersedes its format; the work looms over its so-called contemporaries, it is influential in a way no others have achieved, and most importantly, it stays morally consistent with its message.

MELT MY EYEZ SEE YOUR FUTURE - 4

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Denzel Curry's album Melt My Eyez See Your Future is, in my opinion, the platonic ideal of an album. Every millisecond flows and provides an almost synesthetic experience. The hypnotic vocals of Walkin' paired with Denzel's incredible verses fill me with joy, the bassline ties the song in the most satisfying way and the comedic elements are interwoven effortlessly, easily placing it as my favourite of the album. Other highlights include Melt Session #1, Worst Comes to Worst, The Last, Zatoichi and The Ills. As expected, the lyrics are exquisite, intricate; the rhymes interconnected, the beats immaculate. The guest rappers complement Denzel perfectly, their verses elevating the songs to new heights; in particular I thoroughly enjoyed Rico Nasty's verse on the track Ain't No Way.