Review: Sex and Sensibility, BBC 4

Set against political scandal, mass immigration and growing cultural hysteria, this three-part BBC d

Despite, being a dazzling time full of progress and change, as the turning of a new century loomed, drug abuse, sexual deviance and syphilis were rife. Europe in the late 1800s was a hot bed of radical ideas and “there were also more ominous undercurrents”. Indeed, as Smith points out Conrad’s Heart of Darkness was published in 1899, at art nouveau’s height.

The first episode, broadcast last Thursday, explores the rise and fall of this flamboyant decorative style from it’s emergence in the Bohemian underbelly of Paris onto the streets of the city, giving us an insight into both the flourishing aesthetic of art nouveau and the lives of some of the city’s most glamorous and controversial fin de siècle figures.

Smith looks at the iconic, sensual images of actress Sarah Bernhardt, the exclusive architecture of the famous Maxim’s restaurant, Paris’s art nouveau metro stations as well as the exquisitely gaudy beauty of jewellery designed by Renee Lalique. But Smith’s exploration of this decadent world is  not just a flick through the picture books, as he reveals how some of art nouveau's stars risked their reputation to give meaning and purpose to work they thought would affect social change.

In Episode two Smith shifts his exploration to Britain wherein the “sensuality of exotic foreign influences met the genius of British craftsmanship”. Our art nouveau heritage is excavated revealing the “meteoric”, “dazzling”, “controversial” yet brief career of illustrator Aubrey Beardsley whose illustrations and association with Oscar Wilde scandalised the British public of the day. Smith also looks at the work of William Morris and Charles Rene McKintosh as well as lesser-known talents such as Margaret Macdonald.

Episode three, airing on Thurdsay 5th April, will see Smith journeying to Vienna to take a look at the master of art nouveau, Gustav Klimt.

The series uncovers glimpses into the world of art nouveau. Through visits to their private houses, previously unseen collections of their work and interviews with their enthusiasts, Smith talks engagingly and intriguingly about this fashion fad that disappeared almost as fast as it emerged. Whether you are a fan of the art nouveau style or not, the scandalous lives of its fin de siècle’s participants more than makes up for its over-the-top and whimsical aesthetics.

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Only Drake could wow the O2 by pointing out random audience members' clothing

It takes charisma to pull off abandoning hits halfway through.

On the last London night of his Boy Meets World tour (20 March), Drake doesn’t come on stage until 10pm, which is enough to kill off most gigs at the O2 Arena (hello, Bieber), as people are worried about getting the Tube home. The amount of rum and Coke in the room – a steaming, unrecognisable space with a false ceiling of globular lights and a stampeding crowd split in half by a fence – certainly helps keep the buzz. But who’d have thought that a man standing onstage diligently pointing at audience members and saying what they’re wearing (“You in the blue dress shirt with the ­lager!”) would constitute one of the most exciting nights the O2 has seen in a while?

“Tonight is not a show, not a concert, not about me,” says Drake, who runs an annual “Drake Night” in Toronto and once visited Drake University in Iowa.

So far, the world’s favourite rapper – his latest album, More Life, recently got 90 million streams on its first day of release on Apple Music alone – has had a shifting identity. His songs capture a new strain of emotionally literate but solipsistic hip-hop, which can feel intense or whiny depending on how you look at it. His offstage behaviour is Type-A rapper – he has been accused of throwing beer bottles at Chris Brown, he has been punched by Diddy and he has had altercations with Jay Z, Kendrick Lamar, Pusha T and Ludacris.

But Aubrey Drake Graham, the son of a white, Jewish mother and an African-American father who once played drums alongside Jerry Lee Lewis, does skits about his petulance on Saturday Night Live (see “Drake’s Beef”). Emotionally demonstrative, openly dysfunctional, a bit of a bruiser, with an ability to flit between a dozen styles of music while expressing a desire for crowd participation that borders on the needy . . . Could this man be the ­Michael Bublé of hip-hop?

Drake’s sprawling two-hour roadshow is held back from chaos by the force of his physical presence. Blunt-headed with muscular, sloping shoulders and mesmerising, nimble feet, he prowls the edge of the stage. He has had so many hits (and has so many guest stars tonight) that he is not interested in playing them all the way through. Instead, recalling Prince in the same venue ten years ago, the show becomes a series of medleys. With just a drummer and a synth player at the back of the stage, he demonstrates an invisible, physical control over the music, operating it like a string puppet, stopping or starting songs with the drop of a foot or the shrug of a shoulder, so they collapse in the middle and are gone.

It takes charisma to pull off abandoning hits halfway through. Pointing at people in the audience, real or imaginary, is a music hall thing. Bruce Dickinson and Metallica’s James Hetfield do it too. Amid a hokey message to follow your dreams, he recalls his time spent singing for $200 a night as a John Legend tribute act. Cue a perfect demonstration of Legend-style singing – before he suddenly sloughs off “all this bathrobe-and-candle-sexy acoustic Ed Sheeran shit”, while huge columns of flame engulf the stage.

Drake is still at his best with blue, slinky songs of alienation – “9”, “Over”, “Feel No Ways” and “Hotline Bling”, which doubles up as make-out music for the couples in the crowd. One pair of lovers, Drake establishes during one of his crowd surveys, have been together for ten years. “I can’t even make a relationship last ten days,” he laments. In 2012, he told the Guardian, “I’ve had too many girls to ever feel uncomfortable about the man that I am.” An old-school boast from a modern man.

The guest stars serve to highlight Drake’s variety, rather than shine on their own. Their songs, too, are started, suspended, chopped and screwed. Drake is more macho when there’s another guy onstage with him – doing “Successful”, with the literally named Trey Songz, or dueling with thefrenetic Skepta, who sounds so much tougher (maybe because he’s a Londoner). The two whirl around the stage like helicopter seeds.

Nicki Minaj, apparently Drake’s one-time lover, rises fembotishly from a hole in the stage and says in a London accent, “I want some fucking crumpets and tea.”

She adds, of her host, “This nigga single-handedly changed the game.” Minaj sings her song “Moment 4 Life”: “I call the shots, I am the umpire . . .” But she doesn’t really. Even her presence flares up quickly and is gone.

Kate Mossman is the New Statesman's arts editor and pop critic.

This article first appeared in the 23 March 2017 issue of the New Statesman, Trump's permanent revolution