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‘Policeman car attack footage’ probed by Scotland Yard

Dramatic footage which appears to show a policeman attacking a car after the driver refuses to get out will be investigated, Scotland Yard said. The clip, shared on social media on Saturday and viewed around 50,000 times, shows what appears to be a police officer – filmed from the position of the driver – repeatedly telling him to “get out of the car”, adding: “You’re not allowed to drive it.”

The officer then hits the driver’s side window with what looks like a baton, before a voice can be heard saying: “I’ve got a licence. I’ve got a licence. I’ve got insurance. You’re smashing this for no reason.”

The Metropolitan Police said it is “aware of footage circulating on social media of an incident involving two uniformed officers in Camden”, adding that the incident took place at Weedington Road, north-west London, at around 5pm on Friday. In a statement, the Met said: “The footage will now be subject to an investigation by officers from the Directorate of Professional Standards (DPS).”

The policeman can be seen striking the windscreen, resulting in the glass shattering, and he then starts slicing around the damaged area with what appears to be a pen knife.

When asked by the driver what the problem is, the officer tells him he is “not allowed to drive”. The police force said on Saturday evening: “As soon as the MPS was made aware of the footage, the DPS was contacted immediately. The individual who uploaded the footage has been contacted by DPS officers.

“As this matter is in its early stages, the officers have not been suspended or placed on restricted duties. No-one was arrested during the incident.”

The video, which could not be independently verified, has been shared on Twitter and Instagram where the officer’s actions have been described as “mindless vandalism and intimidation”. A man who wanted to be referred to by just his first name, Leon, told the Press Association he was the driver and the person who filmed the footage.

He said the incident took place on Friday evening in the Gospel Oak area of north London, and said it was a case of “mistaken identity”, describing the officer’s actions as “a completely unlawful act”.

Leon, who said he spent the evening in hospital due to getting glass in his eyes, said it was “complete madness” and that he is “still in shock”.

“Every time he smashed the glass, fragments of glass were just ricocheting in my face,” he said.

£200 worth of equipment has been stolen from Primriose Hospice … – Evesham Journal

A CHARITY which provides vital care and support for people dying of cancer has condemned thieves that stole from it as the “lowest of the low”. Staff and volunteers at Primrose Hospice have been left shocked and disgusted after burglars broke into garden storage sheds at its hospice in St Godwalds road in Bromsgrove and stole gardening equipment valued at around 200. Money that could have been used to pay for eight memory boxes to help children plan for the death of a parent or four hours specialist nursing care so a patient can stay in their own home and not die in a hospital bed.

It costs 170 per day for a patient to attend the charity’s day hospice, for patients living with life limiting illnesses, and be looked after by specialist teams. Helen Briscoe, chief executive officer at the charity, which relys on donations, said everyone is “shocked and upset” at the incident, which happened last week.

“We were very sad and shocked that someone can even think to steal from a charity,” she said.

It is the lowest of the low, who can steal from a charity – especially one that supports people at the end of their life.”

The charity gets about 17 per cent of its funds from the health sector so has to raise more than 1.3 million per year to offer services for free. The gardens are an integral part of the charity’s environment and offers patients and their families a calm place to think and reflect as well as somewhere to relax.

Ms Briscoe said: “When someone faces an end of life diagnosis it is a very difficult and turbulent time emotionally.

“We are fortunate to have beautiful grounds at the hospice and it is an important part of our environment. Many people can find peace in the garden amongst nature when they are struggling to come to terms with their illness.

“Children affected by losing a parent can play and take part in activities outdoors so it is a really precious space.

“All our garden maintenance is done by a fantastic team of dedicated volunteers who come week in and week out to tend the grounds no matter what the weather is.

“They do need equipment to keep the gardens looking so lovely and it is very sad that someone can steal from us in this way. She said the charity will have to pay to replace the equipment and is currently thinking about updating its security camera system, adding outdoor lighting and even installing new electronic gates – all items which will take hundreds of pounds more from people who desperately need it. For more information about Primrose Hospice or to make a donation go to the charity, visit or call 01527 875444.

Classical CDs Weekly: Strauss, Weinberg, Rolf Lislevand

Classical CDs Weekly: Strauss, Weinberg, Rolf LislevandStrauss: Ein Heldenleben, Four Symphonic Interludes from Intermezzo Melbourne Symphony Orchestra/Sir Andrew Davis (ABC Classics)

This isn t a Heldenleben of extremes, but it s definitely a performance to live with. ABC s live recording is exceptionally good; the opening theme on lower strings and horns leaps out with a pleasing oomph. Sir Andrew Davis paces Der Held to perfection, the pleasingly rich sound suggesting that Strauss s hero is narrating his life story from a well-upholstered sofa. The scoring never feels too thick everything s nicely blended but you can still taste the component parts. The Melbourne critics aren t as barbed as some, but the Hero s considered response is silkily phrased. Dale Bartrop s extended violin solo is full of character, preceding a riveting, sharply-etched battle sequence. And The Hero s Retirement from the World is rightly moving, its horn and violin duet leading to the deepest, most sonorous of brass chords.

Davis also gives us the Four Symphonic Interludes drawn from the 1924 opera Intermezzo1. Plot knowledge isn t necessary; these ripe offcuts are superbly enjoyable as abstract music. There s a lovely moment in the first one where the scoring suddenly thins and an obbligato piano introduces a waltz. Dreaming by the Fireside is ripe but moving, before a card game leads to one of Strauss s happiest, most unbuttoned endings. All sensationally played and winningly conducted. Can we have more from this source, please?

Classical CDs Weekly: Strauss, Weinberg, Rolf LislevandWeinberg: Solo Sonatas for Violin nos. 1-3 Linus Roth (Challenge Classics)

Linus Roth s recording of Weinberg s powerful Violin Concerto2 remains an ideal entry point for anyone unfamiliar with this important, if uneven, composer. Here he turns to the composer s three sonatas for solo violin, interspersing them with violin and piano transcriptions of the Three Fantastic Dances composed by Weinberg s friend and mentor Shostakovich. Wittily accompanied by Jos Gallardo, they provide much-needed light relief, Roth pleasingly smoochy in the second dance. Weinberg wrote 12 unaccompanied string sonatas. The first two are multi-movement, middle period works. No. 1 s opening is an abrasive sequence of screeches and scrapings, before a serene, intensely melodic Andante steals in. Weinberg s third and fourth movements are playful and stark by turns, and the finale doesn t resolve matters. Easier on the ear is 1967 s Second Sonata, its seven short movements sounding like a sequence of character portraits. Whimsy, wistful melancholy and dry wit coexist. And, it s beautifully held together by Roth, playing the work as if he s delivering a series of soliloquies. You suspect that we re hearing Weinberg s true voice; we re certainly not being talked down to. The work s ending is something to savour: guitar-like strummings leading to a perfunctory closing gesture.

The Third Sonata presents additional challenges for any player notably the fact that besides the technical demands, its single movement form means that any violinist brave enough to tackle it needs a page turner to avoid grinding to a halt. Roth pulls it off by putting the score on an iPad, using a foot switch to turn the pages. Composed in memory of Weinberg s father, who had been murdered in the Holocaust, it s predictably intense. Poignant scraps of folk-like melody rub shoulders with fierce, florid writing, the klezmerish closing passage recalling Shostakovich s Piano Trio no. 2. It takes real persuasiveness to bring such uncompromising music to life, and Roth succeeds brilliantly. Essential listening.

Classical CDs Weekly: Strauss, Weinberg, Rolf LislevandRolf Lislevand: La Mascarade – music by Robert de Vis e and Francesco Corbetta (ECM)

Robert de Vis e and Francesco Corbetta were guitarist-composers in the court of Louis XIV the former was occasionally asked by the monarch to play his guitar whilst walking a few steps behind him through the gardens at Versailles ( the first Walkman or iPod in musical history ). Rolf Lislevand s rambling, ornate booklet essay arguably reflects the aesthetics of the time, though it s still an entertaining and poetic read. La Mascarade is the title of a Rondeau by de Vis e, with Lislevand using the title in a more general sense to describe these pieces where an appearance is not the true face nothing is to be taken literally. The music s formal elegance never quite masks the deeper, darker currents flowing below the surface: La Mascarade s polished surface conceals a melancholy underbelly.

As a sensual experience, this disc is sublime: if you ve never heard a theorbo ( the king of the lutes ) before, sample de Vis e s brief Chaconne en la mineur, the plucked bass notes ringing out like bells under Lislevand s elaborate finger picking. He also plays a lighter-sounding Baroque guitar, heard to radiant effect in Corbetta s gorgeous little Sarabanda per la B. Corbetta s pieces tend to sound a little brighter and less troubled than those of his pupil de Vis e: his tiny Folie is simpler and more direct than a piece like de Vis e s La Muzette, the repetitive opening bars of which sound disconcertingly modern. A desert island disc, and something to wallow in and savour. ECM s production values are usually impressive, but this disc is exceptional by their standards. Lislevand describes relaxing in a Versailles hotel room with a glass of red wine before tackling de Vis e s Sarabande en si mineur. As listeners, I urge you all to follow his example.


  1. ^ Intermezzo reviewed on theartsdesk (
  2. ^ Weinberg’s violin concerto on theartsdesk (

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