the soundtrack to the day you wish you'd had
So this is my 200th blog post! (in this version – there were a few more in the archive, but we’re not counting those…)
So to celebrate that, and the fact that I’ve just bought a web-cam, here’s a me-montage. What finer way to celebrate my excersise in benign narcisism, than by looking at me!
happy birthday my blog!
So, apparently, if you drive in a bus-lane in London, you automatically are signed up to a new scheme where the local council send you a link to four portraits of your car, and then charge you
So Dame Shirley Porter has agreed to pay back 12m of the 40-something million she embezzled from Westminster city council in the homes for votes scandal of the 1980s….
…hang on, AGREED TO??? – she’s guilty of a crime, but she’s bargaining with the courts over how much she should have to pay back?
For those of you either too young or too far away to remember the story, She was iinvolved in a scam that involved selling off council houses in Westminster to people who agreed to vote Tory, thus losing the local council millions and millions in revenue. She’s a multi-millionairess, part of the Tesco dynasty, and is, by all appearances, unrepentant immoral scum. And now she appears to be in negotiations to decide what would be a fair amount to pay back. ‘Obviously she can’t be expected to pay back more than she’s worth’ says some council flunky. Er, why the hell not??? She’s commited a crime, she’s cost a local council millions that then has to be recouped through local taxes etc. (great for a tory, supposedly in favour of lower taxation…), and then fled the country (I gather she now lives in the British Virgin Islands [EDIT – according to the fount of all evil knowledge that is evil harv, she actually lives in Israel…]).
Look, she should be a prison. She’s a criminal. She’s got off lightly because she’s rich, and that’s wrong. Plain and simple. If she’d mugged someone and stolen their handbag to feed her kids she’d be in prison, but mugging and entire London Borough and costing them millions is fine, just pay back what you feel like, love, and we’ll forget about the rest.
So much for there not being a double standard. This case, plus the case of that turd-on-legs Jeffrey Archer being allowed to remain a Lord, despite being convicted of PURJORY AND PERVERTING THE COURSE OF JUSTICE (can their be a much worse crime for someone involved in the nation’s legal process to be found guilty of???), demonstrates that the legal and governmental system really does look differently on rich people who commit crimes from poor people.
Bollocks to the lot of ’em.
Soundtrack – not much of late, though I did just buy the new Sarah McLachlan album, and have listened to the first couple of tracks from that, which sounds very good.
Well, it’s St George’s day, patron saint of England. A day to celebrate all things english… seems fitting that St George himself was actually a Palestinian. If he tried to get in today, he’d be put in a camp for asylum seekers. As it was, he was brought here after the crusades, that fine act of British slaughter with some weird moral angle… or is that the current occupation of Iraq, I always get those mixed up? Bugger me, it’s both…
Anyway, things I like about england –
walking round london in summer, knowing that rain will only last about 15 minutes, the language, indian restaurants, the BBC (yay!), 240v power and sensibly shaped plugs, the NHS royal mail and the education system (or what’s left all all three), our collective history of dissent, comedy post-python, the scarcity of guns, the lack of a constitution, the university system, our literary tradition, the newcastle metro, the lake district, regional accents, the high percentage of vegetarians here, the Church of England (and our groovy archbishop), car boot sales, Lincoln Cathedral, the British museum, natural history museum, the tate, tate modern, national gallery, The New Statesman, Ethical Consumer, The Guardian, Mulitculturalism (no idea what Trevor Philips was on about the other day), the mersey sound poets, greenbelt, Wimbledon fortnight, Cornwall, The Stables in Milton Keynes, Hampstead Heath, Wimbledon Common, The Devils Punchbowl country park, village pubs, billy bragg, protest marches, traidcraft, cafe direct, Show Of Hands, North Norfolk coast, Lindisfarne, The Otter Trust, and loads of other stuff. to be updated…
I shan’t list what I don’t like about england – save that for another day.
So what’s been going on? Been trying to make ‘And Nothing But The Bass’ available for download via my shop, which seems to have worked, except that I can’t seem to bypass the ‘postage’ costs function… I’m sure people would feel pretty hacked off at having to pay
that’s going to gigs, not playing them this time.
Monday night was Carleen Anderson at the jazz cafe. I’ve see her there before now, and it’s always an amazing gig. Her band is wonderful – Ben Castle on Sax, Andy Hamill on bass, Winston Clifford on Drums, Mark Edwards on keys, Mark someone on guitar (didn’t catch his surname, but he was very very good), and a backing vocalist I think was called Natasha. Anyway, a great gig – Carleen’s voice is amazing, her songwriting is really strong, the grooves were exceedingly funky, and a fine time was had by all.
Tuesday night involved going to hear Duke Special at Sound Acoustic in Leicester Square, which is a lot better than the Sound venue upstairs in the same building, which is horrible. Duke Special, AKA Pete Wilson, is brilliant – dread-locked piano-playing singer-songwriter with a stellar voice, beguiling stage presence, and some fantastic songs. His EP ‘Lucky Me’ is brilliant, and he was one of my top three favourite acts from Greenbelt last year. He’s on again at The Barfly in Camden tonight, but I’m teaching til 9, so don’t think i’ll be able to make it. I’ll have a mooch around online and see if I can find a stage-time…
Then last night (wednesday), I spent a very pleasant evening listening to the JazzBerries in the Crypt at St-Martins-In-The-Fields, in Trafalgar Square. It was a rather lovely set of vocal standards, well played and sung. Good stuff.
I love wandering round London on balmy evenings – the centre of london is such a gorgeous historic place, brimming with culture and marvellousness. Theatres, restaurants, street musicians, historic buildings and monuments, groovy cafes and swanky celeb bars. Add to that the majesty of the museums, and you’ve got one amazing city. OK, so we’ve got one of the worst recycling records in Europe, the public transport infrastructure has gone to shit, the hospitals are being sold off to people who don’t want to do operations that aren’t ‘cost effective’, the government are happy to ignore democracy in action, gun crime is rampant… etc. etc. but it does have its upside too… :o) I tend to walk around with a big grin on my face at this time of year.
Over the last couple of days I’ve been listening through all the tracks that I recorded for ‘Not Dancing For Chicken’ that didn’t get used, and some of it’s really good! I obviously did a really strong stylistic selection job on what went on and what got left off, and there’s tonnes of stuff here I really like. So it might be time for a downloadable extra and live tracks album… I’ll get round to that ASAP!
So Korn decided to do a video about how screwed up the record industry is, about how usurous record deals are, the evils of the FCC etc. etc.
Korn? er, yes – signed to Epic (a Sony subsidiary), spending record company money like they’re going for a world record. STILL signed to a major label
this article at RollingStone.com contains the line “For a platinum band that allegedly spent $4 million on its 2002 album Untouchables, fighting its label and MTV may seem hypocritical.” – MAY seem hypocritical??????? Dude, if they had an ounce of integrity they’d jack it in, go indie, release their own records, deal with the fallout of dropping out of the label and use it as a chance to highlight the evilles of the industry.
But no, they just do the faux-rebellious thing, and the tragedy is that in the US it’ll be lapped up. Lots of losers will be outraged (ex-ref everything from Britney and Maddy kissing, to Janet Jackson’s boob-thang, to Prince writing SLAVE on his face…) – the industry thrives on this kind of crass controversy. The only way to fight it is opt out. You try and fight it from within, you just make more money for The Man. If you bail out, they lose. Prince did the right thing – cut loose, made records for himself, but recently blew it by signing to Sony!! – the purple one is clearly more of a maroon these days…
Where were ‘the rebels’ when Pearl Jam attempted to subvert TicketMaster’s hold on the live scene? Where are the rebels boycotting Clear-Channel events? Nowhere – they just make crass protest vids, that make them and their record companies even more money.
Bollocks to Korn. I wouldn’t buy their records anyway, but if I was going to, I’d have boycotted them.
(thanks to The Captain for the link)
Soundtrack – nothing right now, but I’m about to put on the Jughead album – Greg and Matt Bisonette with Ty Tabor – amazing Foo Fighters/Lit/Rembrants-esque stuff. Marvellous.
The Reith Lectures are now one of the high points of the BBC’s broadcasting each year – the breadth of subject matter and emmenence of the speaker each year is pretty much beyond challenge.
This year’s lecturer is Nigerian thinker/poet/playwright, Wole Soyinka, and can be read and listened to online here – his theme is ‘A Climate Of Fear’, drawing on his experiences in Nigeria though the civil war and the traumatic political climate across Africa in the last 50 years.
Marvellous, challenging and inspiring stuff.
Soundtrack – Juliet Turner, ‘Season Of The Hurricane’ – hugely gifted Irish singer/songwriter. All three of her CDs are marvellous.
Well, not really, but we did go to two stunning photography exhibitions today.
We’d only planned to go to one, as a birthday treat for the small person, but when we got to the Natural History Museum, there was a second free exhibition displayed outside.
The free exhibition was ‘earth from the air‘ – an exhibition of aerial photography by Yann Arthus Bertrand. His work focuses on the twin poles of the majesty of the natural world and the influence of mankind upon it. Lots of pictures of bizarre natural phenomena and of man’s impact on everything. Seeing it on Good Friday, it acted as a kind of devotional tool – amazing to see the wonder of creation, and the fallen-ness of the human race in its abject inability to fulfil the mandate to protect the planet.
For there we moved onto the Wildlife Photographer Of The Year exhibition – clearly these people get to glimpse through God’s letter-box, and then come back and show us their holiday snaps. Some of the most startling images I’ve ever seen, beautiful, moving, illuminating, awe-inspiring. It’s only on for another week, so if you can get to it, do. After that, it’s on tour, so check it out!
London’s museums are one of the things that give me hope for the city. Some things about living here are so f***ed up, it’s frightening. Other times, there are glimpses of magic. The museums are some of those magical places – free to get in, brimming with information and inspiration about the world. They went through a few years of charging to get in, but fortunately went back to being free. When I was a lil’ kid and we had no money, the museums was one of our favourite days out – Sundays were really really cheap on the underground, and the museums were free to get in. I was captivated by the blue whale in the Natural History Museum, and developed a fascination with whales and dolphins as a result. The British Museum is another fave london haunt.
So the funding for them now comes from the shops, restaurants and from donations, so I always make a point of buying food and books when there – today we had lunch there, and bought the catalogues to both the exhibitions. If you go, and can afford it, do support the museums – helps to keep it free for the people who can’t afford it.
Soundtrack – Rebecca Holweg, ‘June Babies’ – went to see Rebbeca play yesterday in the foyer at the Royal Festival Hall – her hubby is bassist Andy Hamill, whose solo CD is fanastic too. Rebecca’s gig was great, as is the CD. Highly recommended jazzy singer/songwriter.
At least not according to the picture caption on this article written by someone at the BBC Wales website. Methinks someone’s taking the piss…
Soundtrack – Jonatha Brooke, ‘Steady Pull’; Mick Karn, ‘Beastial Cluster’.
So I was just looking for a CD to soundtrack me washing up, and thought ‘ah I’ve not listened to that for a while, let’s give it a go’. The CD in question is ‘I Can See Your House From Here’ by Pat Metheny and John Scofield, a CD that I distinctly remember thinking ‘file under not really very good’ when I got it. Was deeply disappointed with it.
It’s great. Very good indeed.
What lead me to not get it first time round? Expectation, I think. I knew what I thought a Metheny Scofield album should sound like, and this wasn’t it. I wanted it to be the album I’d half imagined in my head, and when it wasn’t, instead of deferring to the wisdom of the artist, I decided it was lame.
So what does this do to the critical process? We still have to formulate opinions on things, and something’s appear to be total rubbish, or at least disappointingly fall short of the potential that a group/collaboration/artist shows.
The problem seem to be with second guessing what a project was intended as. If there’s a stated aim, it’s sometimes easier to tell whether a particular artistic endeavour has fallen short of that. If there isn’t, it’s pretty tricky to work out whether it’s a successful rendering of the concept. Whether you dig it or not is another thing altogether, but whether it’s an objectively poor record is quite something else.
There was a discussion recently on the Jonatha Brooke discussion forum about the cover tunes on her new CD – she’s recorded ‘God Only Knows’, ‘Fire And Rain’ and ‘Eye In The Sky’ by the Alan Parsons Project. The first two are so well known they don’t even need crediting to their respective performers.
The discussion seemed to be arguing whether or not it was even valid to attempt new versions of these tunes, and involved the projection of an entire methodology onto Jonatha, implying that as a creative songwriter, she must’ve been running out of ideas or something… Whether or not people liked the covers is not something I’m too bothered by, but I found the questioning of whether or not recording them was an artistically valid thing to do a really weird leap of logic. Jonatha has, as far as I know, made no statement as to her reasoning behind doing the tunes, or her relationship to the whole original/interpretative approach to performing songs, so the whole argument seemed to hinge on the various poster’s own feelings about the importance of those songs, and jonatha’s role as a singer/songwriter/performer.
Most of it was bollocks, but it did get me thinking. Criticism can be a really good thing – sometimes bad reviews and negative comments can be helpful in that they let you know where the writer is at in relationship to your work, and occasionally – very occasionally – the reasoning of the writer is such that you see flaws in your own creative process that you weren’t aware of. That’s a pretty rare scenario, but when it happens, it’s pretty useful.
But for the most part, people tend to objectify their subjective feelings about a song or a gig or a performance – I liked it, therefor it was ‘good’. I didn’t like it, therefor it was ‘invalid’/’not good’/’a waste of time’/’the wrong thing to do’. That’s the kind of crap that as a performer you can get into debates with people about, or you can just ignore, and move on, realising that the writer has no idea what you were trying to do anyway. Even better, you can reinterpret it, extract from it their perception of what you do, and find new ways of explaining what you do that help those people get a handle on it.
Of course, in the long run lots of people still won’t get it, and lots more will think you’re a bit rubbish, but that’s all part of the fun.
Soundtrack – Pat Metheny & John Scofield, ‘I Can See Your House From Here’; Horace Silver, ‘Jazz Masters’; Jonas Hellborg, ‘Octave Of The Holy Innocents’; Jill Sobule, ‘Pink Pearl’.