Well, what a spectacular Olympics we’ve just had – superbly done, China. I’m glad the Chinese made sure there was something for everyone – including gorgeous architecture and huge helpings of awesome spectacle for us less-than-sporting types.
Michael Phelps and Usain Bolt were the magnificent stars of the show, but of course team GB did us extremely proud. I’m also thrilled with Australian Matthew Mitcham’s gold for the 10m dive – the only out male gay athlete of the games (17,000 odd contestants) and he got the highest diving score ever!
Given the standard of the Chinese performance I was pretty much dreading the London hand-over bit. Given the scale of the venue even a London omnibus looked a bit lost; I was not at all convinced by the dancing element – what was that all about? – but things improved when the bus opened up and the dreaded Jimmy Page let loose with his guitar. And our own secret weapon, the man Beckham got one of the biggest cheers of the night from the crowd. So, in my view an honorable attempt overall – let’s hope we build on this for 2012.
Another real worry was our very own dear mayor, Boris Johnson. Let’s face it, anything was possible. But Boris behaved himself beautifully – very polite and proper but nevertheless managing to inject a pleasing informality into the IOC’s overly grandiose ceremonial. One had to marvel at the contrast between the communist Chinese mayor’s suave elegance and Boris’s very own trademark disheveled look.
He had his own classic Boris moment later back at GBHQ – “Ping Pong is coming home” indeed. Hilarious, and actually politically quite clever in that it quite upstaged Gordon’s more predictable attempt to bask in Olympic glory.
Tuesday, August 26, 2008
Wednesday, August 20, 2008
dogs and druids
Last night’s tv gave lots to think about: an exciting Channel 5 documentary basically corroborating Julius Caesar’s assertion that the druids were human-sacrificing cannibals (although the academics were trying desperately to find excuses for them: on the lines of “Poor things! They couldn’t help it! They were being stressed out by the Romans”). The Victorians felt the druids were quite bloodthirsty; the 20th–century remade them as gentle eco pacifists; now the pendulum swings back again.
On to the BBC, where Aunty blew the pedigree dog business to smithereens. Geek. Pedigree dogs are now going to join fur coats, intensive battery hens and veal farming at the apex of animal welfare concern. It really was pretty shocking, and made great TV in that Kennel Club officials and pedigree breeders in general are so far in denial they’re oblivious to how they come across, which makes brilliant TV. Poor doggies. Over-breeding has created a situation where about a third of Cavalier King Charles spaniels have a congenital condition where their brains are too large for their skulls. The programme also featured a Pug which was bred from a champion and had ‘perfect’ pedigree features but whose back legs dislocated when it tried to walk; had breathing troubles, stomach troubles, in-grown eyelids and a backbone twisted like a corkscrew. Great.
The Crufts 2003 Champion, a Pekinese called Danny, apparently had had surgery to correct a congenital deformity to its nasal passages and even then had to be sat on an ice pack after winning to prevent it overheating during the press photoshoot.
It pretty much stands to reason, when you think about it. The breeds developed quite happily without the Kennel Club’s interference. For the last century, breeders have been trying to conform to artificial and frankly arbitrary written breed specifications – based on appearance only. BUT judges judge based on a subjective understanding of those rules; if the rules say a flat nose is required, the flattest nose wins. That animal goes on to breed more; the next generation will have flatter noses than their forebears, but the flattest nose out of the new generation will win the prizes, and the process continues. Eventually you end up with the bizarre mutations we get today.
My parents had a pedigree boxer but thank heavens he didn’t have epilepsy. I can remember a friend who was a boxer enthusiast being very excited to see a white one. Now I know why these are so rare – white boxers are verboten according to the breed rules; those unfortunate enough to be born white are ‘culled’.
On to the BBC, where Aunty blew the pedigree dog business to smithereens. Geek. Pedigree dogs are now going to join fur coats, intensive battery hens and veal farming at the apex of animal welfare concern. It really was pretty shocking, and made great TV in that Kennel Club officials and pedigree breeders in general are so far in denial they’re oblivious to how they come across, which makes brilliant TV. Poor doggies. Over-breeding has created a situation where about a third of Cavalier King Charles spaniels have a congenital condition where their brains are too large for their skulls. The programme also featured a Pug which was bred from a champion and had ‘perfect’ pedigree features but whose back legs dislocated when it tried to walk; had breathing troubles, stomach troubles, in-grown eyelids and a backbone twisted like a corkscrew. Great.
The Crufts 2003 Champion, a Pekinese called Danny, apparently had had surgery to correct a congenital deformity to its nasal passages and even then had to be sat on an ice pack after winning to prevent it overheating during the press photoshoot.
It pretty much stands to reason, when you think about it. The breeds developed quite happily without the Kennel Club’s interference. For the last century, breeders have been trying to conform to artificial and frankly arbitrary written breed specifications – based on appearance only. BUT judges judge based on a subjective understanding of those rules; if the rules say a flat nose is required, the flattest nose wins. That animal goes on to breed more; the next generation will have flatter noses than their forebears, but the flattest nose out of the new generation will win the prizes, and the process continues. Eventually you end up with the bizarre mutations we get today.
My parents had a pedigree boxer but thank heavens he didn’t have epilepsy. I can remember a friend who was a boxer enthusiast being very excited to see a white one. Now I know why these are so rare – white boxers are verboten according to the breed rules; those unfortunate enough to be born white are ‘culled’.
Tuesday, August 19, 2008
Yay, George!
My new discovery George Monbiot gives it to the USA:
"If we seek to understand American foreign policy in terms of a rational engagement with international problems, or even as an effective means of projecting power, we are looking in the wrong place. The government's interests have always been provincial. It seeks to appease lobbyists, shift public opinion at crucial stages of the political cycle, accommodate crazy Christian fantasies and pander to television companies run by eccentric billionaires. The US does not really have a foreign policy. It has a series of domestic policies which it projects beyond its borders. That they threaten the world with 57 varieties of destruction is of no concern to the current administration. The only question of interest is who gets paid and what the political kickbacks will be."
Monday, August 18, 2008
Queer London: Perils and Pleasures in the Sexual Metropolis, 1918-1957
(Matt Houlbrook, University of Chicago Press, 2006)
The beautiful image on the cover seduced me into buying this book (and I felt the need for some educational reading). It’s a fascinating read; most enjoyable and informative. I loved the way Houlbrook itemises the particular geography of queer London, and has even sourced photos of historic queer places (largely from police records, it would appear). Knowing where these old clubs, bath houses, urinals etc actually were will definitely add another dimension to my experience of London.
The book is (fairly obviously) based on his PhD thesis, so is written in full-on academic-speak. Houlbrook does manage to enliven this jargon-heavy discourse with some wit and flexibility; I just feel an opportunity to reach the general reader has been missed. There is certainly enormous human interest here, and loads of original research. As it was, I felt like a student at the back of queer-studies class.
My other issue is that he imposes an off-the-peg Marxist analysis on the history: not particularly convincingly, in my view. Slippery queer men evade the class categories he constructs for them at every turn. He nostalgically looks for a moment when the [queer] proletariat storms the gates of the Winter Palace – the closest incident he finds is a massive police raid on a proto queer club-night in a Holland Park Street Ballroom run by “Lady” Austin for her “Camp Boys”, in the 1930s. The police gained undercover entrance to this by dragging up and passing as queer. One policeman enthusiastically boasted about “trading twice” with “my boyfriend” – this part was subsequently suppressed at the trial.
Houlbrook clearly shows the camp boys had a vocal and articulate critique of their arrest and the laws which led to it. However I think he overemphasizes the differences between the camp boys and middle-class ‘respectable homosexuals’: the camp boys clearly were trying to keep their night as private as possible, given that the police had to go to extreme lengths to gain entry. Moreover, the camp boys clearly supported the abolition of the Act, following the call of the middle-class Oscar Wilde and prefiguring the middle-class 'respectable homosexual' lobbyists at the Wolfenden commission.
These lobbyists clearly did create a mythical ‘respectable homosexual’ – but surely as a deliberate ploy to counter the demonized stereotypes then prevailing in public discourse. They needed to speak the language of the law-makers in order to persuade them to change the laws.
In the end, the tragic Lady Austin saga had no effect on the liberation struggle one way or the other. By contrast, the arrest and trial for cottaging of the middle-class war-hero, sportsman and public schoolmaster Frank Champain (at midnight, in one of London’s most notorious urinals under the Adelphi arches just off the Strand) had a dramatic effect on police activity after Mr Champain was spectacularly acquitted on appeal.
It is quite clear that he must have been totally guilty, but his solicitor skillfully spun his arrest as police entrapment and this so enraged the appeal judge he berated the policeman involved. The police were so cowed by this that arrests for cottaging fell dramatically after this trial and stayed well down for years afterwards. So, by helping to minimize persecution during a lengthy period of oppression, this has to be counted a small tactical success.
In the final analysis, the Camp Boys protested but did not physically fight their arrest – very much unlike the New York Stonewall Bar gays of decades later. Stonewall became an iconic and liberating moment for gays all over the world. Why didn’t this happen at the Holland Park Ballroom? - are our police less brutal? are we too respectful of the law? Whatever the answers, it would seem that the European reformist strategy has overtaken the activist tradition in the States. Despite the explosive and psychologically liberating Stonewall moment, America today is massively behind Europe in awarding equal rights to its gay citizens – and even has a fundamentalist and activist right-wing trying to turn the clock back even more.
The beautiful image on the cover seduced me into buying this book (and I felt the need for some educational reading). It’s a fascinating read; most enjoyable and informative. I loved the way Houlbrook itemises the particular geography of queer London, and has even sourced photos of historic queer places (largely from police records, it would appear). Knowing where these old clubs, bath houses, urinals etc actually were will definitely add another dimension to my experience of London.The book is (fairly obviously) based on his PhD thesis, so is written in full-on academic-speak. Houlbrook does manage to enliven this jargon-heavy discourse with some wit and flexibility; I just feel an opportunity to reach the general reader has been missed. There is certainly enormous human interest here, and loads of original research. As it was, I felt like a student at the back of queer-studies class.
My other issue is that he imposes an off-the-peg Marxist analysis on the history: not particularly convincingly, in my view. Slippery queer men evade the class categories he constructs for them at every turn. He nostalgically looks for a moment when the [queer] proletariat storms the gates of the Winter Palace – the closest incident he finds is a massive police raid on a proto queer club-night in a Holland Park Street Ballroom run by “Lady” Austin for her “Camp Boys”, in the 1930s. The police gained undercover entrance to this by dragging up and passing as queer. One policeman enthusiastically boasted about “trading twice” with “my boyfriend” – this part was subsequently suppressed at the trial.
Houlbrook clearly shows the camp boys had a vocal and articulate critique of their arrest and the laws which led to it. However I think he overemphasizes the differences between the camp boys and middle-class ‘respectable homosexuals’: the camp boys clearly were trying to keep their night as private as possible, given that the police had to go to extreme lengths to gain entry. Moreover, the camp boys clearly supported the abolition of the Act, following the call of the middle-class Oscar Wilde and prefiguring the middle-class 'respectable homosexual' lobbyists at the Wolfenden commission.
These lobbyists clearly did create a mythical ‘respectable homosexual’ – but surely as a deliberate ploy to counter the demonized stereotypes then prevailing in public discourse. They needed to speak the language of the law-makers in order to persuade them to change the laws.
In the end, the tragic Lady Austin saga had no effect on the liberation struggle one way or the other. By contrast, the arrest and trial for cottaging of the middle-class war-hero, sportsman and public schoolmaster Frank Champain (at midnight, in one of London’s most notorious urinals under the Adelphi arches just off the Strand) had a dramatic effect on police activity after Mr Champain was spectacularly acquitted on appeal.
It is quite clear that he must have been totally guilty, but his solicitor skillfully spun his arrest as police entrapment and this so enraged the appeal judge he berated the policeman involved. The police were so cowed by this that arrests for cottaging fell dramatically after this trial and stayed well down for years afterwards. So, by helping to minimize persecution during a lengthy period of oppression, this has to be counted a small tactical success.
In the final analysis, the Camp Boys protested but did not physically fight their arrest – very much unlike the New York Stonewall Bar gays of decades later. Stonewall became an iconic and liberating moment for gays all over the world. Why didn’t this happen at the Holland Park Ballroom? - are our police less brutal? are we too respectful of the law? Whatever the answers, it would seem that the European reformist strategy has overtaken the activist tradition in the States. Despite the explosive and psychologically liberating Stonewall moment, America today is massively behind Europe in awarding equal rights to its gay citizens – and even has a fundamentalist and activist right-wing trying to turn the clock back even more.
Thursday, August 14, 2008
smelling dirty
Popped into Kingston yesterday lunch time to buy a few bits and ended up in John Lewis's ground floor, where I never usually go. There is a huge section devoted to male colognes, so I had fun browsing a bit. Squirted some Paul Smiths before noticing a display of Juicy Couture's new fragrance, Dirty English.
This was a surprise, because all the advertising I have seen says it's exclusive to Selfridges at the moment. The advert is fab: full marks for creativity. Apparently the whole deal is referencing the Sex Pistols. The fragrance would be a great gift for that Australian Olympics official who was making remarks about English soap earlier this week.
Anyway, as it was there I had a squirt of that too. Smells nice, sort-of like gingerbread I thought. Couldn't really decide if I would like it; whatever.
Went back to the office, washed hands, had lunch; washed hands several more times in the afternoon; went home, washed hands, made dinner, watched tv, washed up, brushed teeth, went to bed. Dirty English still on my hands, noticeably. The scent just never dies. Use with caution!
This was a surprise, because all the advertising I have seen says it's exclusive to Selfridges at the moment. The advert is fab: full marks for creativity. Apparently the whole deal is referencing the Sex Pistols. The fragrance would be a great gift for that Australian Olympics official who was making remarks about English soap earlier this week.
Anyway, as it was there I had a squirt of that too. Smells nice, sort-of like gingerbread I thought. Couldn't really decide if I would like it; whatever.
Went back to the office, washed hands, had lunch; washed hands several more times in the afternoon; went home, washed hands, made dinner, watched tv, washed up, brushed teeth, went to bed. Dirty English still on my hands, noticeably. The scent just never dies. Use with caution!
Friday, August 08, 2008
Monkey Olympics
If Olympics TV coverage promos were an official Olympics sport, the BBC would win gold!
This is soo much better than the tedious ol' Olympics will be . . .
Well done to Damon Albarn, Jamie Hewlett and the BBC team (inspired by the Journey to the West opera)
This is soo much better than the tedious ol' Olympics will be . . .
Well done to Damon Albarn, Jamie Hewlett and the BBC team (inspired by the Journey to the West opera)
The Revenger's Tragedy
I’m a bit of a scaredy-cat and avoid violence in entertainment, so the National Theatre’s Revenger’s Tragedy was not for me, so I thought. I only booked to go after the disappointment of Afterlife (all the Revenger’s reviews I read were brilliant – typically my luck to go for the dud instead). I finally saw it last night.Wow! Interval saw me hurtling forth, highly discombobulated, in search of strong drink – but in a good way. This production is simply sensational. Absolutely fantastically designed and acted, with sublime use of the NT’s revolving stage. The sound and lighting was especially good too.
This is a very louche 80’s Versace sort-of Renaissance Italian court – sharp sexy club clothes; maximalist interiors featuring massive blow-ups of the most salacious bits out of Titian and Veronese. Gender-bending minions and principals in search of perverted sex. Murder and necrophilia. Huge animated skulls. The end of the first act sees the revolve go hyper-drive, with the duke savagely murdered by the protagonist to pounding underground club beats while watching his duchess having very noisy athletic sex with his bastard son. Phew! How very unlike the home life our own esteemed monarchy.
Absolutely wonderfully directed (and co-designed) by Melly Still. It ends this month, so catch it fast!
Wednesday, August 06, 2008
let's all go nuclear
George Monbiot is the latest eminent environmentalist to come out in (qualified) support for nuclear power stations. James Lovelock of course has been vocally advocating nuclear for some time. Newsnight debated this last night, and poor George was attacked quite personally from both sides – a governmental nuclear apparatchik called him a “slow learner” on the one hand (one would think they would have welcomed his contribution – Mr Monbiot potentially can deliver millions of Guardian readers to their cause) – and on the other Jonathan Porrit castigated Monbiot for selling out. In fact Porrit seemed far keener on castigating Monbiot than on addressing environmental causes.
Newsnight presenter Gavin Esler did nothing to moderate these personal attacks (even appearing to find them quite funny). George kept his cool and came out really well, I thought, especially in the face of Porrit’s provocations. Perhaps Mr Porrit is a little envious of Mr Monbiot’s environmental star status.
Anyway, even Julie Burchill is attacking him now – he replies to her criticisms in today’s Guardian:
“The environment is inseparable from social justice. Climate change, for example, is primarily about food and water. It threatens the fresh water supplies required to support human life. As continental interiors dry out and the glaciers feeding many of the rivers used for irrigation disappear, climate change presents the greatest of all threats to the future prospects of the poor. The rich will survive for a few decades at least, as they can use their money to insulate themselves from the effects. The poor are being hammered already.
In reality, it is people like Julie Burchill – who is, incidentally, far richer than almost any green I have met – who treats the poor with contempt. So that she can revel in what she calls "reckless romantic modernism", other people must die. But at least you can't accuse her of hypocrisy: she cannot fail to live by her moral code, for the simple reason that she doesn't have one.
Sure, we are hypocrites. Every one of us, almost by definition. Hypocrisy is the gap between your aspirations and your actions. Greens have high aspirations – they want to live more ethically – and they will always fall short. But the alternative to hypocrisy isn't moral purity (no one manages that), but cynicism. Give me hypocrisy any day.”
Newsnight presenter Gavin Esler did nothing to moderate these personal attacks (even appearing to find them quite funny). George kept his cool and came out really well, I thought, especially in the face of Porrit’s provocations. Perhaps Mr Porrit is a little envious of Mr Monbiot’s environmental star status.
Anyway, even Julie Burchill is attacking him now – he replies to her criticisms in today’s Guardian:
In reality, it is people like Julie Burchill – who is, incidentally, far richer than almost any green I have met – who treats the poor with contempt. So that she can revel in what she calls "reckless romantic modernism", other people must die. But at least you can't accuse her of hypocrisy: she cannot fail to live by her moral code, for the simple reason that she doesn't have one.
Sure, we are hypocrites. Every one of us, almost by definition. Hypocrisy is the gap between your aspirations and your actions. Greens have high aspirations – they want to live more ethically – and they will always fall short. But the alternative to hypocrisy isn't moral purity (no one manages that), but cynicism. Give me hypocrisy any day.”
Quote London
- Penelope Fitzgerald (1916 – 2000)
Friday, July 25, 2008
Gehry in London
Gehry’s 2008 Serpentine pavilion is a masterful answer to his recent archi-critics, who can’t stand his popularity and have accused him of being a ‘one-trick pony’.
The pavilion is wildly different to Gehry’s recent buildings – not a curve or titanium tile in sight.
It is still wildly modernist, yet pleasingly references history (Gehry said on tv he was intrigued by the Roman invasion of England; hence the catapult-like form) and pays flattering homage to the Serpentine Gallery. Looked at frontally, the pavilion forms a delicious, wildly eccentric frame for the classicizing older building.
Some of the initial drawings show the shattered roof line was going to made up of curved panels – the built version has flat panels; by far the better aesthetic option.
It is also the first pavilion to have a lift!
Great stuff. A really wonderful addition to London summer ’08.
Thursday, July 24, 2008
Journey to the West
This classic Chinese text’s title is pretty confusing to Westerners – the tale tells of a journey from China to India, both countries very far to the east of us. Calling India ‘the west’ just feels wrong, but of course to the Chinese it is quite simple fact.
Personally, I blame Diocletian’s division of the Roman Empire into “East” and “West” in AD285. To us Europeans, the East will always begin in the eastern end of the Mediterranean.
Heavens it’s been a while since I was last at the Royal Opera – to my shame, my last visit was pre-rebuild/extension, which puts it at least 8 years ago!
- But I was there last night for the London premiere of Damon Albarn’s, Jamie Hewlett’s and Chen Shi-Zheng’s opera Monkey: Journey to the West. It’s fabulous – the Floral Hall is a fantastic ‘see and be seen’ sort of space, and the terrace overlooking Covent Garden piazza and central London’s roofscape is just lovely for a snack or drink pre-performance, especially in the evening sun; the terrace catches soothing evening breezes. The Opera house was decorated monkey-style for the event, and was serving monkey cocktails. The capacity crowd was really buzzing with anticipation.
The opera itself is visually spectacular and very beautiful; brilliantly conceived by Jamie Hewlett. Chen Shi-Zheng directs the cast of thousands with amazing control – the focus on the story is sharp despite a cast of thousands doing absolutely stunning things – awesome acrobatics, aerial ballet, exciting kung-fu fights etc etc. It’s actually so complicated it’s remarkable the whole thing went off without a single apparent mistake.
Damon Albarn’s music is gorgeous; individually the numbers are very beautiful. However, as opera one can’t compare it to Verdi or Wagner – it’s fairly episodic, and there isn’t an arc of musical development over the full piece. However, I’m still looking forward to the CD being released.
I have to mention Fey Yang as the Monkey King – he was absolutely magnificent; endearingly cheeky, yet acrobatic and superb at the fighting (in character). An incredible performance, giving out 100% energy from beginning to end.
The three co-creators came on stage at the end of a well-deserved standing ovation.
Personally, I blame Diocletian’s division of the Roman Empire into “East” and “West” in AD285. To us Europeans, the East will always begin in the eastern end of the Mediterranean.
Heavens it’s been a while since I was last at the Royal Opera – to my shame, my last visit was pre-rebuild/extension, which puts it at least 8 years ago!- But I was there last night for the London premiere of Damon Albarn’s, Jamie Hewlett’s and Chen Shi-Zheng’s opera Monkey: Journey to the West. It’s fabulous – the Floral Hall is a fantastic ‘see and be seen’ sort of space, and the terrace overlooking Covent Garden piazza and central London’s roofscape is just lovely for a snack or drink pre-performance, especially in the evening sun; the terrace catches soothing evening breezes. The Opera house was decorated monkey-style for the event, and was serving monkey cocktails. The capacity crowd was really buzzing with anticipation.
The opera itself is visually spectacular and very beautiful; brilliantly conceived by Jamie Hewlett. Chen Shi-Zheng directs the cast of thousands with amazing control – the focus on the story is sharp despite a cast of thousands doing absolutely stunning things – awesome acrobatics, aerial ballet, exciting kung-fu fights etc etc. It’s actually so complicated it’s remarkable the whole thing went off without a single apparent mistake.
Damon Albarn’s music is gorgeous; individually the numbers are very beautiful. However, as opera one can’t compare it to Verdi or Wagner – it’s fairly episodic, and there isn’t an arc of musical development over the full piece. However, I’m still looking forward to the CD being released.
I have to mention Fey Yang as the Monkey King – he was absolutely magnificent; endearingly cheeky, yet acrobatic and superb at the fighting (in character). An incredible performance, giving out 100% energy from beginning to end.
The three co-creators came on stage at the end of a well-deserved standing ovation.
Thursday, July 17, 2008
Pygmalion
The West End Whingers were slightly premature in their praise for the apparently newly-oiled seats at the Old Vic. My seat last night was as squeaky as an annoyed bat – however, Peter Hall’s production of Pygmalion was so good this minor irritation evaporated. And the seat itself was in the distinctly posh part of the auditorium – the poshest I’ve ever been at the Old Vic (6th row central, stalls, no less).
I’m glad I shelled out, because the production and performances were so beautifully detailed it was wonderful to be able to appreciate them all close-up, as it were. The “Not bloody likely” scene was side-splittingly funny: Eliza’s (Michelle Dockery) partially-transformed accent got spontaneous applause mid-way through.
This was a belt-and-braces properly traditional production – down to real rain and a real taxi on stage. However, so intelligently done it was a tremendous pleasure. My doubts about Shaw were quite quelled.
Wednesday, July 16, 2008
oily adventures
Tate Modern opened its oil tanks to Tate members this weekend – yippee! Power Stations are a bit of a thing with me, ever since my work placement as a student at the HQ of a power company in South Africa. Bless her, my boss didn’t have a clue what to do with an art history student, so she sent me out on field visits to the power stations, leaving me with very fond memories of the “dark Satanic mills” kind. Actually, they are very exciting, even sublime places – the furnaces, the turbines, the cooling towers, etc etc etc.
My field of expertise is coal-fired stations, so seeing the remaining innards of an oil-fired station intrigued me. Also, I missed the tours of Bankside before the deplanting, which I have always regretted.
Anyway, I have to say the oil tanks were a slight disappointment. I’m not a driver, so I don’t really have a feel for how fast oil is burnt in a combustion engine. I was anticipating the tanks for a power station to be absolutely vast (at least 5 stories high) – so although these are big, they definitely are smaller than I was thinking.
The Tate was planning to convert the spaces into auditoria, but artists who saw them persuaded the authorities to leave them as ‘found spaces’ for artists to play in. So think circular versions of the turbine hall, not as high.
All very exciting, and the Tate is apparently going to announce Herzog and de Meuron’s developed plans for the new Tate Modern extension this week. It is planned for completion in time for the 2012 London Olympics. Yay!
P.S – I know I’m being retrogressive in insisting on ‘The’ Tate, but I really hate the branding company’s arrogance in attempting to annihilate the definite article. It’s an act of foreclosure on the English Language, no less, and imperial overstretch by ‘Tate’. Nicholas Serota will have to threaten to discontinue my membership before I submit to the ugliness of the naked Tate.
My field of expertise is coal-fired stations, so seeing the remaining innards of an oil-fired station intrigued me. Also, I missed the tours of Bankside before the deplanting, which I have always regretted.
Anyway, I have to say the oil tanks were a slight disappointment. I’m not a driver, so I don’t really have a feel for how fast oil is burnt in a combustion engine. I was anticipating the tanks for a power station to be absolutely vast (at least 5 stories high) – so although these are big, they definitely are smaller than I was thinking.
The Tate was planning to convert the spaces into auditoria, but artists who saw them persuaded the authorities to leave them as ‘found spaces’ for artists to play in. So think circular versions of the turbine hall, not as high.
All very exciting, and the Tate is apparently going to announce Herzog and de Meuron’s developed plans for the new Tate Modern extension this week. It is planned for completion in time for the 2012 London Olympics. Yay!
P.S – I know I’m being retrogressive in insisting on ‘The’ Tate, but I really hate the branding company’s arrogance in attempting to annihilate the definite article. It’s an act of foreclosure on the English Language, no less, and imperial overstretch by ‘Tate’. Nicholas Serota will have to threaten to discontinue my membership before I submit to the ugliness of the naked Tate.
Tuesday, July 15, 2008
Major Barbara
No doubt about it, there’s a George Bernard Shaw boom on at the moment. The NT’s Saint Joan last year was pretty awesome; I’m a little bit more quizzical about its production (just ending) of Major Babara.Undoubtedly, this play raises interesting and still very relevant questions. I thought the second act in the Salvation Army shelter was as great as theatre can get – it’s just the last act, despite the spectacular setting in an armaments factory (brilliantly realized in this production) displays some of Shaw’s most wordy faults. It does drag – worse, the characters Undershaft and Cusins debate loftily at length while the rest of the cast sit around like Madame Tussaud’s waxworks. Occasionally Lady Britomart Undershaft or Charles Lomax pop up with a comedy turn to jolly things along. The only dramatic tension is the choice facing Adolphus Cusins, and how he will square this with Barbara. The contrast with the morally fluid and dramatically explosive second act is pretty extreme.
I loved the cast and production – this was just a Shaw thing with me, I think. I’m seeing Pygmalion this week, so we’ll see.
Pope's Villa at Twickenham
Context really does affect how one experiences art. I always find looking at things in Sotheby’s or Christie’s quite exciting – everything’s for sale!! – but if it is an important piece, the time one spends looking at it is somehow more heightened and valuable than if it was, say, in the National Gallery where it will still be next week, if one fancies coming back.
I popped into Sotheby’s last week to have a look at the ‘Sudeley Turner’ – Sudeley no more as it has now been sold for almost £5.5 million. I’ve never seen it before, and can’t really say it featured heavily in my Turner studies at Uni. Its official title is Pope’s Villa at Twickenham.
It’s pretty gorgeous: Joseph Mallord William Turner in the full flow of his attempt to out-do the miraculous evening glow of the celebrated French master Claude Lorrain. Indeed, one critic immediately after viewing this picture called Turner “indisputably the first landscape painter in Europe”.
Turner was motivated by the vandalism of Baroness Howe (known as “Queen of the Goths”), who so hated the literary tourists drawn by the poet Alexander Pope’s villa that she decided to tear the villa down. Turner portrays the already roofless villa catching the raking last rays of the sun (very restrained and subtle, the melodrama of the Fighting Temeraire is absent here). The sun-washed villa is reflected in the limpid Thames. In the foreground, a group of workmen are negotiating the sale of architectural salvage from the house.
It is fascinating that a lively debate about national heritage was thriving that far back in history, and it is equally ironic that the painting itself enacts its own circumstances, as another great piece of national heritage is lost, perhaps to leave the country forever.
I popped into Sotheby’s last week to have a look at the ‘Sudeley Turner’ – Sudeley no more as it has now been sold for almost £5.5 million. I’ve never seen it before, and can’t really say it featured heavily in my Turner studies at Uni. Its official title is Pope’s Villa at Twickenham.
It’s pretty gorgeous: Joseph Mallord William Turner in the full flow of his attempt to out-do the miraculous evening glow of the celebrated French master Claude Lorrain. Indeed, one critic immediately after viewing this picture called Turner “indisputably the first landscape painter in Europe”.
Turner was motivated by the vandalism of Baroness Howe (known as “Queen of the Goths”), who so hated the literary tourists drawn by the poet Alexander Pope’s villa that she decided to tear the villa down. Turner portrays the already roofless villa catching the raking last rays of the sun (very restrained and subtle, the melodrama of the Fighting Temeraire is absent here). The sun-washed villa is reflected in the limpid Thames. In the foreground, a group of workmen are negotiating the sale of architectural salvage from the house.
It is fascinating that a lively debate about national heritage was thriving that far back in history, and it is equally ironic that the painting itself enacts its own circumstances, as another great piece of national heritage is lost, perhaps to leave the country forever.
Tuesday, July 08, 2008
Burial at Thebes
The Rose is Kingston’s new theatre (opened 2008). I’ve been wanting to check it out, and Nottingham Playhouse Theatre Company’s production of Seamus Heaney’s new translation of Sophocles’ Antigone seemed a good opportunity to do so.
While Kingston is quite a comfortable area of south west London, I feel the town centre is also quite a bit chavvy, so I was very worried The Rose would struggle to find an audience. I was totally relieved therefore to see it had quite a respectable turn-out: the theatre seemed about two-thirds full when I went.
The translation was pretty magnificent: simple and clear, but powerfully poetic when it needs to be. Greek tragedy is pretty wonderful stuff – it draws you in to the moral issues at stake quickly, presents all the arguments for and against without redundancy or over-analysis, gets on with the story, and wham bang all over in about 75 minutes. Brilliant.
Great ensemble work from the company. Their use of the set was good – I don’t know whether it was their own or they were just using what is there already. Apparently, The Rose is unfinished and it’s the backstage area which is still incomplete. The set certainly looked very rawly concrete.
While Kingston is quite a comfortable area of south west London, I feel the town centre is also quite a bit chavvy, so I was very worried The Rose would struggle to find an audience. I was totally relieved therefore to see it had quite a respectable turn-out: the theatre seemed about two-thirds full when I went.
The translation was pretty magnificent: simple and clear, but powerfully poetic when it needs to be. Greek tragedy is pretty wonderful stuff – it draws you in to the moral issues at stake quickly, presents all the arguments for and against without redundancy or over-analysis, gets on with the story, and wham bang all over in about 75 minutes. Brilliant.
Great ensemble work from the company. Their use of the set was good – I don’t know whether it was their own or they were just using what is there already. Apparently, The Rose is unfinished and it’s the backstage area which is still incomplete. The set certainly looked very rawly concrete.
Monday, July 07, 2008
Monday, June 30, 2008
a tea discovery
The Taste of London festival also featured loads of food and drinks suppliers and manufacturers. In the Taste of China section I came across Chinalife’s stand and they were giving out tastes of their various teas.
I absolutely love everything about tea, it’s history, folklore, manufacture, its rituals – making it and drinking it. Although all tea is good, I generally prefer Chinese teas. The black teas from Yunnan are my current favourites.
I was completely bowled over by Chinalife’s white tea “Amber Mountain”. Apparently, this variety was reserved for the exclusive use of the Emeror. It’s pretty gorgeous. From their blurb:
The tea leaves are pretty amazing - unfurled in boiling water, they look like they've just been picked from the camellia sinensis bush.
So now I’m happy drinking like a Chinese Emperor! :-)
I absolutely love everything about tea, it’s history, folklore, manufacture, its rituals – making it and drinking it. Although all tea is good, I generally prefer Chinese teas. The black teas from Yunnan are my current favourites.
I was completely bowled over by Chinalife’s white tea “Amber Mountain”. Apparently, this variety was reserved for the exclusive use of the Emeror. It’s pretty gorgeous. From their blurb:
”Highest grade rare tea produced in very small amounts. It creates a beautiful, glowing infusion that tastes like pure dew from an early Spring morning, with a subtle complexity of flavour that is intense and mesmerising.
[cut]
White tea is made from new growth buds and young leaves and derives its name from the tiny, silver white hairs on the dried tea. White tea is a specialty of the Chinese province of Fujian. It can only be picked for a short time each year, making it rare and more expensive than other teas but connoisseurs love the pale colour, delicate, sweet flavour and silky finish. White tea is the closest to the natural state of the tea leaf and contains high amounts of anti-ageing antioxidants.”
The tea leaves are pretty amazing - unfurled in boiling water, they look like they've just been picked from the camellia sinensis bush.
So now I’m happy drinking like a Chinese Emperor! :-)
Unknown Knowns
“We pride ourselves for living in a society in which we freely decide about things that matter. However, we are constantly in the position of having to decide about matters that will fundamentally affect our lives, but without a proper foundation in knowledge. This is frustrating: although we know that it all depends on us, we cannot predict the consequences of our acts. We are not impotent but – quite the contrary – omnipotent, without being able to determine the scope of our powers. While we cannot gain full mastery over our biosphere, it is in our power to derail it, to disturb its balance so that it will run amok, swiping us away in the process.”
- Slavoj Zizek, The Observer 29th June
Thursday, June 26, 2008
Taste of London 2008
My flatmate asked if this entailed kebabs and dirty pavements, and my brother thought jellied eels would be a sure bet. However, Taste of London is a food festival in Regent’s Park showcasing the cream of London’s restaurants, each giving ‘tastes’ of three of their signature dishes to hoards of hungry punters. Well, not exactly giving – you have to pay to get in, and pay for the food too, with vouchers called crowns which you have to buy from the organizers as well.
Our tickets got lost in the post, so they had to provide replacements on the day. I had ordered an extra book of the vouchers, only to discover this had not been included after I had entered the fair. So back out again, fighting security all the way, fighting with the ticket office, blah blah blah. Eventually, fully ticketed up we entered into the fray inside.
The fun is diving from one restaurant to the next, snacking. I very much enjoyed a Parmesan custard with anchovy toasts from Le Café Anglais (I got a recipe card!) and an extraordinarily rich, flavoursome and foamy white tomato soup from Rhodes Twenty Four (Gary Rhodes himself was present on his stand to charm the public). My top tastes however were from Le Gavroche (Smoked chicken and foie gras terrine with lentils and truffle vinaigrette) and this extraordinarily pretty tiger prawns with wasabi mayonnaise alongside little cubes of mango and Thai Basil seed from Kai Mayfair:
As you can see from the above, you can easily ingest a huge variety of types and styles of foods very quickly. Luckily my stomach was able to take the pace.
Some restaurant staff appeared to get a bit competitive, shouting orders (over) loudly back and forth, especially if their neighbours were a bit slow. It was all quite fun and silly.
There was a separate section devoted to Chinese cuisine and food products. Harbin Beer had hired an ice sculptor to carve their logo lion, in really sparkly, glittery clear ice:
Our tickets got lost in the post, so they had to provide replacements on the day. I had ordered an extra book of the vouchers, only to discover this had not been included after I had entered the fair. So back out again, fighting security all the way, fighting with the ticket office, blah blah blah. Eventually, fully ticketed up we entered into the fray inside.
The fun is diving from one restaurant to the next, snacking. I very much enjoyed a Parmesan custard with anchovy toasts from Le Café Anglais (I got a recipe card!) and an extraordinarily rich, flavoursome and foamy white tomato soup from Rhodes Twenty Four (Gary Rhodes himself was present on his stand to charm the public). My top tastes however were from Le Gavroche (Smoked chicken and foie gras terrine with lentils and truffle vinaigrette) and this extraordinarily pretty tiger prawns with wasabi mayonnaise alongside little cubes of mango and Thai Basil seed from Kai Mayfair:
As you can see from the above, you can easily ingest a huge variety of types and styles of foods very quickly. Luckily my stomach was able to take the pace.
Some restaurant staff appeared to get a bit competitive, shouting orders (over) loudly back and forth, especially if their neighbours were a bit slow. It was all quite fun and silly.
There was a separate section devoted to Chinese cuisine and food products. Harbin Beer had hired an ice sculptor to carve their logo lion, in really sparkly, glittery clear ice:
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