Brian Micklethwait's Blog
In which I continue to seek part time employment as the ruler of the world.Home
neaceavorrund on The Poppies (3): People taking selfies
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Darren on How the internet is cheering up Art
Michael Jennings on Marginal Eurostar economics
Michael Jennings on Marginal Eurostar economics
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Brian Micklethwait on Union Jacks with colours played around with
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- Tower Bridge glass shattered by beer bottle
- Database blues
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- The Poppies (4): Bald Blokes photoing them
- On the rights and wrongs of me posting bits from books (plus a bit about Rule Utilarianism)
- Quota photo from Paris (also a selfie)
- How the internet is cheering up Art
- Marginal Eurostar economics
- Looking down through the see-through Tower Bridge walkway – but what about looking up through it?
- Cats – and technology
- Hot dog shadow selfie
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6000 Miles from Civilisation
A Decent Muesli
Adventures in Capitalism
Alex Ross: The Rest Is Noise
Another Food Blog
Antoine Clarke's Election Watch
Armed and Dangerous
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Burning Our Money
Chase me ladies, I'm in the cavalry
China Law Blog
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Communities Dominate Brands
Confused of Calcutta
Conservative Party Reptile
Counting Cats in Zanzibar
Deleted by tomorrow
Don't Hold Your Breath
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Dr Robert Lefever
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Everything I Say is Right
Fat Man on a Keyboard
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Here Comes Everybody
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Jeffrey Archer's Official Blog
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we make money not art
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Category archive: Pop music
New Yorker classical music critic Alex Ross writes about how he still loves his classical CDs. Partly, he admits, it’s nostalgia. CDs were such a huge leap forward when they first arrived that that moment of pure joy is very hard to turn your back on. I can still remember what my first CDs were: Nielsen 3, Brahms Sextets, Barenboim complete Beethoven piano sonatas, Strauss Alpine Symphony … Then there was the realisation that classical CDs would just get cheaper and cheaper and abundanter and abundanter, and then very soon the reality of that happy circumstance. Gramex Boss Hewland prices his stuff with more than half an eye to what Amazon charges, and it remains worthwhile to visit Gramex from time to time, even as all the other central London second hand CD emporia have faded away. He piles them high and sells them cheap.
Yes, the physical space occupied by CDs is a problem. Those piles can get very high. (Visit my home to see that problem on an enormous scale.) But, for me, the internet remains an unenticing place to purchase and play classical music. I have accumulated some virtual titles, as a result of buying them new on Amazon and having an additional “cloud” version of the same thing piped into my computer. But I wouldn’t want to be without the CDs whose purchase provoked this additional twenty first century response.
I wrote recently about the value of keeping things separate, in my case my big home computer and my music making equipment. Even as my big home computer continues not to materialise, I still have music as good as ever, with no messing with some new kind of system to make it work.
But the central problem with classical music on the internet is that it remains, I believe, a mess. Pop music having overwhelmed classical music economically during the last hundred years or so, pop music is the big driver of internet music, and internet music is entirely organised for the benefit of pop fans, and their discreet tracks. We classicists are liable, as Alex Ross explains, to get lumbered with such things as John Eliot Gardiner’s Beethoven Nine labelled as being the work of Lyuba Organosova, merely because she tops of the list of soloists for the final movement. The labelling of classical tracks on Amazon, where they offer you little snippets to listen to, is routinely done by naming the pieces with such things as their tempo or loudness markings, while neglecting to tell you what the piece is or what number movement it is. They just can’t be bothered to get it right. Fair enough. I understand why they can’t be bothered. We classicists aren’t worth bothering with. Buy the CD or don’t and consider yourself lucky, is the message. Until someone really big and well organised does bother about it, classical music on the internet will remain an off-putting afterthought, piggybacking systems devised for something else, rather than an enticing attraction.
When things get reissued, the labelling is liable to go completely to buggery. I, for instance, have that Barenboim set of Beethoven sonatas on EMI from way back, long before the internet, when it first came out as a set of CDs. Since then it has been reissued. So, when the internet tries to assist me in cataloguing recordings I myself have made of it onto my hard disc, it gets it all wrong. Useless.
Classical music on the internet will eventually get sorted out. And when it does, I will, if not dead, presumably hear about it from my classical music mags. A consensus will be announced, saying things like “Classical CDs really are pointless nowadays”, and when you read such articles, it will, after about a decade of premature enthusiasm of the geek-bollocks sort ("all you have to do is blah blah dance on the head of twenty seven pins blah blah blah turn seventy three cartwheels blah blah blah what could be easier? … yes it might all crash but to solve that blah blah blah ..."), eventually become true. A actual, real world majority of Classical freaks will be using this single, best arrangement, and it will work, all the time, like email. Or not.
Even when such a new classical dispensation does emerge, I will probably not bother to switch. It’s not just sunk costs; it will also be declining costs. As internet classical music becomes ever more appealing, so the price of mere CDs will sink and sink, until all of them can be purchased by me from Amazon, for £0.01 plus postage.
Meanwhile, I like that my CD filing system (aka my CD collection) is always accurate. When I dig up a CD that says it is so-and-so’s recording of Brahms 4, it is, and then when I play it, it will be played in the right order. Notes will be to hand to read about this recording if I want to, conveniently stored right next to the CD.
I do have lots of virtual music, as an addendum to my CDs, like those files that Amazon spontaneously volunteers, and like stuff I have recorded from the radio. But the latter starts out being called something like DAB002, and I have never sorted out how to file it conveniently, or even to edit it into individual performances. Life is too short to be bothering. Why edit, when CDs are already edited. Virtual music is strictly an afterthought for me. Plastic music remains the thing itself, for me. And (see above) I don’t believe I’m just being sentimental, even if I am somewhat.
Because he is definitely some personal kind (is there any other kind?) of libertarian (he and this guy are mates from Eton), I have instructed Google to send me emails about popular entertainer Frank Turner whenever anything is said about or by him, which is quite often because he really is very popular.
Here’s an interview Turner recently did. They asked him how it feels to play in an “arena”, i.e. a very, very big place.
It’s a funny thing because I think whenever anyone starts out playing music you have a bucket list, or a ceiling of achievement that you might think of … and I’m really not trying to sound like Mr CoolHipsterPunkRock here, but the biggest bands I went to see when I was a kid played The Astoria, maybe Brixton Academy.
But then, straight after that, comes this:
I’d never been to an arena show before I played one.
How cool is that?
Which just goes to show that a precondition for being cool is not trying to be.
Shame about that Libertarian Party (see the “this guy” link above). That didn’t turn out quite so cool.
I have my favourite bloggers. Mick Hartley, 6k and David Thompson being my most regular visitees. Two of these three (see those two links) often put up clips of their favourite bits of music, which I pretty much always ignore. Often, when confronted by other people’s favourite musical snippets, I already have music playing, on my separate music box which is nothing to do with my computer and which therefore works when I most need it, which is when my computer is not working.
I tend not to do stick up bits of my favourite sort of music, which is classical. Partly I’m lazy and am not very clever about putting up Youtube clips here. But I could put up lots of links (one follows below) to classical stuff. But, I tend not to. There are enough reasons for people to strike this blog off their weekly-read list or whatever, without me putting them off even more with bits of classical music.
Now, first off, I have no problem with bloggers posting whatever they like. Their gaff their rules. I put whatever I like (as in like to put) here, and they can put whatever they like to put at their places. But, am I the only one who almost always ignores music at other people’s blogs? Most of us like lots of random bits of pop music, old and new. In my case, there’s also a ton of classical classics I like a lot, and others also have their favourite genres that they know all about, adore some of and like a huge proportion of.
I mention this because, entirely for my own selfish reasons, I particularly want to be able to remind myself of this clip of someone called Yulianna Avdeeva playing Chopin, particularly well to my ear. And maybe that’s it. Bloggers use their blogs as personal filing cabinets, just as I do. They put up bits of music because they want always to be able to get hold of that bit quickly, and now they know they can. The readers can just wait for the next posting, and pick up where they left off. (That link, by the way, is to a bit of classical music at a blog that specialises in classical music. Quite often I do play the clips she features, because her kind of music is my kind of music. What I’m on about here is musical clips at blogs which are mostly about non-musical things.)
I think another point being made with these bits of music is the point I make with my occasional Friday cat blogging, which is that a lot of the appeal of blogging in particular and life in general is pure enjoyment. And music, perhaps more than any other art, and especially when no words are involved or in the case of the more upbeat and silly pop tracks, is all about pure enjoyment.
By the way, when I started writing this, I thought that David Thompson also featured occasional pop snippets. So I went looking for his latest pop snippet, but found that actually he does not do this, or not lately, hence no link to any music at his blog in the second sentence of this posting. But I did find this talk, by Greg Lukianoff, about the growing menace of the I-Am-Offended industry on American campuses. Quite long, but recommended.
SInce I started on this posting, Mick Hartley stuck up another pop clip. Again, I have not listened, and probably won’t ever.
As my talk deadline (tomorrow evening) approaches, further insights keep rearranging themselves in my brain.
Not long ago, I read Alex Singleton’s new book (he will be speaking at my home on Friday 31st of this month) about how to do P(ublic) R(elations). (Not so long before reading that book, I read another book in which PR meant, throughout, P(hoto) R(econnaissance). How the world keeps changing (see below).)
I don’t recall any of the facts in this book of Alex’s about how to do PR being any sort of shattering revelation. Rather was the book a relentless drip-drip-drip of what is called “commonsense”, that is, of facts which might well be true, which would make sense if true, and which are, in the opinion of one who knows, actually true, as opposed to some other equally commonsensical notions about these or those circumstances, which, in the opinion of the same expert, are not true. Yet Alex telling me all the things he knows about how to do PR hardly begins to turn me into a PR expert, even though I am now at least passingly acquainted with every important principle, or even fact, that he has gathered up during his PR-ing over the last few years, and furthermore now know (or think I know) where to look to reacquaint myself with all these facts.
What distinguishes Alex from me as a PR-er is that he not only has his facts right, but that he also has them, as the saying goes, “at his fingertips”. That is, he knows how to deploy the pertinent fact at the pertinent time, again and again. He makes connections between his facts, and knows, from experience, which fact matters at which particular moment. He has his facts properly arranged and cross-referenced, inside his head. He knows his way around his facts. All I have is an ill-remembered list of facts.
Trying to “make sense” (as I now am) of digital photography is like that. I already know everything about digital photography that I need to know, pretty much, as (I’m guessing) do you. The problem is making sense of what I know, of putting it all together and relating this fact to that fact, in a way that is slightly interesting and surprising, yet also true.
I now find myself thinking about digital photography as part of that wider historical change known by labels like: the Information Revolution. The Information Revolution kicked off, I would say, on May 11th 1844, when the first message between two different cities (Washington and Baltimore) was sent by electric telegraph. It is intrinsic to digital photography that it is photography that can be communicated.
The effect of the Information Revolution has been to unleash a succession of changes in the texture of everyday life, with each successive decade being defined by whatever stage the Information Revolution happened to have arrived at at that particular passing moment. Photography is both an example of such a change, and the means of recording and remembering and celebrating such changes. Photography remembers things like tablets and iPhones, just as in earlier times it remembered and still remembers big mobile phones, antique microphones, dance crazes, the social structure of successive pop combos, fashions in costume and make-up, and so forth and so on. (Photography also remembers successive iterations of the Industrial Revolution, like trains, cars, airplanes and wars.)
Photography remembers, among many other things, itself. Digital photography remembers, among even more other things, itself.
I like this, from David Byrne:
I’m not saying that the artist doesn’t put their feelings into it, or any part of their biography, but that there’s a lot of constraints and considerations and templates that they work with – unconscious decisions or constraints put upon them that guide what they’re going to do.
Otherwise, why didn’t people in the 14th century start writing full-blown operas with giant orchestras and whatever? These things just weren’t available to them. Our imaginations are constrained by all these other things — which is a good thing. There’s kind of a process of evolution that goes on where the creative part of you adapts to whatever circumstances are available to you. And if you decide you want to make pop songs, or whatever, there’s a format. You can push the boundaries pretty far, but it’s still a recognized thing. And if you’re going to do something at Lincoln Center, there’s a pretty prescribed set of things you are going to do. You can push that form, but kind of from inside the genre. So I guess I’m saying that a lot of creative decisions are kind of made for us, and the trick is then working creatively within those constraints.
Happy is the artist whose inner inclinations happen to fit perfectly with the artistic forms he is offered, with audiences as they are - or as he can easily make them.
And, happy is the artist whose artistic wishes are in alignment with his artistic talents.
It is constantly said that “if Mozart had been alive today” he would have done this or that, and in all cases: a lot. But maybe he would have done nothing. Maybe he would have turned away from music-making nowadays in disgust and contempt, or maybe just frustration that it could not be what he wanted it to be. We can never know.
Photoed by me last night, pn my way from West Hampstead overground to West Hampstead tube:
Time was when that would that. Hey, look at that. Billy Fury Way. And a painting of Billy Fury. Was Billy Fury a local, or an American, or what? Oh well, on with life.
Is Trivial Pursuit still a going concern, what with pursuing trivia now being so easy? I could look that up too, but choose not to.
It is now Monday afternoon, but the end of my Thursday Odyssey is hardly yet in site.
My next stop was at Gramex, where second hand classical CDs are on sale, in particular abundance during the last week or two, as it happens.
The BBC is making a big fuss of LPs just now. Fair enough. LPs had a huge influence on the music being created at the time. Pop music was transformed, for a while, by the album, as was Pop Art, the album cover being a new arena for graphic fun and games of all kinds. Remember all those concept albums?
I just about do, but for me, Pop etc. was a parallel universe. I never disliked it, in fact I admired and admire it very much, and I like occasional pop tracks hugely. Pop is hugely better than recent “classical”, classical being basically a museum now. But despite all that, then as now, I still preferred and prefer classical, and for all but a few vinyl-obsessed classicists, the LP was never more than a means of reproduction, a window to look out at the classical garden, and a very ropey one at that what with all the clicks and scratches, particularly during your favourite bits. Classical music was a going concern long before recordings of any kind existed, and classical LP graphics never amounted to much more than pictures of the musicians, fancy ye-olde typography and/or kitschy chocolate box type landscapes. So when classical LPs were replaced by classical CDs, little was lost and a universe of distraction-free clarity was gained. CDs, certainly classical CDs, after a brief interlude of euphoric demand-driven bonanza profits, quickly got cheaper than LPs if you knew anything about how to buy them, on account of them being so much cheaper to make and distribute.
At first, people thought CDs would eventually disintegrate, but actually what was disintegrating was the CD players. CDs last for ever, provided you are minimally careful. Certainly mine all have, the only problem CDs being the ones that were scratched when I bought them. Crucial to the cheapness of CDs is that you can buy them second hand with reasonable confidence. On Amazon, sellers are terrified of a bad rating, and in shops, you can search out scratches for yourself. Often a shop will let you buy and try, and return if it is too much of a mess. Often what looks like a mess plays just fine. (The trick is to realise that scratches often don’t matter, provided they point towards the middle, as it were. The ones that go with the groove, sideways, because they seriously interrupt the one stream of digital stuff, are the killers.)
So for me, classical CDs were love at first sound. I keep wondering if I may soon stop buying them, but the sort I continue to buy, second-hand at Gramex or (more recently) from Amazon, continue to drift downwards in price.
Here is what I bought at Gramex on Thursday:
I paid only eight quid for those. And the one on the left is a double, which I have been looking for cheap for quite a while. Look for them on Amazon, here and here, and you discover (today anyway) that you would have to pay more like thirty quid for those. Plus, there is no postage to pay if you buy them in Gramex, like there is with Amazon. The cheaper the stuff you like to buy, the more that matters.
Which, along with the exercise I get from going there, is why I keep returning to Gramex. Boss Roger Hewland knows exactly what he is doing. He knows all about Amazon, and regularly checks prices there so as to go below them. He buys big collections for about one quid per CD, often within a minute of looking at them. He then piles them high, sells them cheap, and turns over his stock fast. He knows that getting four quid for something he sells in two days is a better deal for him than getting a tenner, but a month later. And he charges more like one quid for less desirable CDs, just to get rid of them and to make it worthwhile for his regulars to keep on visiting.
More and more regular shops won’t or can’t think like this, and in the face of online selling are just folding their tents, to be replaced by gift shops, restaurants and coffee shops. The latter two being what I did next.
First I went to Marie’s Thai Restaurant, a minute away along Lower Marsh from Gramex, and had my regular chicken and cashoo nuts with rice and a glass of orange juice, and then killed some more time in a Cafe Nero, while continuing to read about Tamerlane, in a book I recently bought for four quid in a remainder shop. He was born. He deceived. He tortured. He slaughtered. He conquered. He died. His vast empire immediately fell apart amidst further slaughter. What a pointless monster. Read about all that and tell me there’s no such thing as progress.
Coffee shops do puzzle me a bit, though. How to do they pay their rent? The morning and lunchtime rushes I suppose, which I avoid.
I don’t always do cats here on Fridays, but I often do. For me they signify the fundamental point of this blog, which is to entertain, and in particular to entertain me, rather than just to be serious and political about everything. There is more to life than the fact, if fact it be, that the politicians are making a mess of everything. So it was that, when on my recent trip to France, I kept half an eye open for cats.
Another thing I found myself snapping was motorbikes. The French really seem to love their motorbikes, perhaps because their roads are longer and emptier than they are in Britain.
So imagine my delight when, wandering around the centre of Quimper of an evening, I came across this:
And I wasn’t the only one who felt that this was suitable material for digitalised immortality:
My favourite snap of a fellow digital photographer in Cat-on-Harley action being this one:
Was the cat in any way disconcerted by all this attention? On the contrary:
The cat loved it.
Here, I hope you will agree, is the appropriate song, sung by one of the all time great French sex kittens. (I actually have this on CD.)
Some months ago I began reading The Rest is Noise by Alex Ross, which is a blow by blow account of twentieth century classical music. Reading and greatly enjoying.
Trouble is, it’s a very big book, even in paperback, which makes it not-ideal for carrying around London, travelling being one of the main ways I read books. (No internet to distract.) So, despite liking this book a lot, I now realise that I stopped reading it and that I switched to a succession of other equally enticing volumes that were not so big. I am only now back with it, having resumed at a time when I was at home, but de-internetted by new computer turmoil.
On page 317, Ross says something I have long thought, but never myself put into written down words, or even said out loud very much:
Hollywood may have been hazardous territory for composers, but they at least felt wanted there, as they never did in American concert halls. The shift to talkies had created a mania for continuous sound. Just as actors in screwball comedies had to talk a mile a minute, composers were called upon to underline every gesture and emphasize every emotion. An actress could hardly serve a cup of coffee without having fifty Max Steiner strings swoop in to assist her. ("What that awful music does,” Bette Davis once said to Gore Vidal, “is erase the actor’s performance, note by note.")
Well said, Bette.
But things improved. Ross continues:
Early movie scores had a purely illustrative function, which composers called “Mickey-Mousing”: if a British frigate sails into the frame, “Rule, Britannia” plays. Later, composers introduced techniques of musical distancing and irony, along the lines of Sergei Eisenstein’s counterpointing of image and sound. Music could be used to reveal a hidden psychological subtext, ...
Indeed. There then follows an admiring description of the music written for The Grapes of Wrath by Aaron Copland. Very influential, says Ross.
This soundtrack-composer-usurping-the-actors style of movie music only completely died out in the sixties and seventies, when they started using pop music for soundtracks, music with an insistent beat of its own which is quite unable to supply this kind of detailed and non-rhythmic “help” for actors. What a relief that was. Suddenly the actors were revealed as able to act perfectly well without such help. Every so often, I watch an old movie on the telly, starring someone like Doris Day, and suddenly we are back with that awful oh-look-she’s-adjusting-her-hat, she’s-a-bit-sad, ooh-now-Rock-Hudson-has-just-cheered-her-up style of movie musical accompaniment. I realise now that Doris Day was perhaps not a completely god-awful film actress with all the subtlety of a container ship trying to win a round-the-harbour speedboat race. It was just that the people writing, directing, editing and musically accompanying Doris Day’s performances were all tasteless idiots.
Another reason I am now reading The Rest is Noise is that I recently attended a lecture given by Ross at the British Library. The lecture rather outstayed its welcome, for me. Ross had about twenty interesting minutes worth of stuff to say about descending base lines as a way of signalling sorrowfulness in sorrowful songs, but took an hour to say it. Nevertheless, the point was a good one and there were many delightful musical illustrations, my favourite being when he played “Hit the Road Jack”.
Afterwards, having already read and liked some of the earlier Alex Ross book, I bought a signed copy of the latest one. But, not having finished reading the previous book, I wanted to do that first.
No welcomes outstayed in either of these books, or not so far. Almost every page of them contains stuff just as worthy of blogvertisement as the above bit that I happened to choose. And if, when you are reading a book, you fancy a break, you can have one. Lectures happen in lecture time. Books can be read in your own time.
Except that in this cat-themed promotion of the latest “fragrance for women” - Purr - being pushed this Christmas by pop songstress Katy Perry, nobody makes use of this obvious pun, because now a perfume is always a “fragrance”. About fifty years ago, or whenever it was, they had a meeting, and decided that from now on it wasn’t “scent” or “perfume”, but “frangrance”. At first people sniggered. Pull the other one. But now, “fragrance” is a normal word, used by normal people:
That’s my dimly lit photo of a poster for this in the Tube. Better version of the same picture here.
Time was when this kind of thing was a “stage” in a pop career. First you sang songs. Then after about a decade, you decided you weren’t getting any younger, had babies to pay for, had financial frauds to recover from, husbands to buy off, and decided to launch a range of nickers or “fragrance” or some such thing, to enable you to go on living in the manner that you were now accustomed to. Now, the fragrance angle seems to be part of it from the start.
County cricket blogging warning. Blogging about county cricket force four to six, imminent:
Paul Sheldon, the Surrey chief executive, has criticised the ‘frenetic’ schedule in this season’s Friend Provident t20 and has called for a reduced Twenty20 competition to be fit into a four-week window next year.
According to Cricinfo, Surrey are now playing against Middlesex even as I blog, in the early evening, and are then scheduled to start their next game in Cardiff tomorrow at 1am. Well, that’s what 01:00 local time and 00:00 GMT means, isn’t it? It has to mean 1pm, and 12:00 GMT, but perhaps Sheldon has been working to this schedule, in which case no wonder he thinks things are a bit frenetic. To say nothing of spectator unfriendly.
[FRIDAY MORNING: This has now been corrected. The match begins not at 1pm, which would also have been pretty frenetic, travelwise, but at 6.30pm. Was there a riot at 1am this morning when play failed to begin? Somehow I doubt it.]
But that’s a mere typo. Something far stranger than that happened in another recent t20 game, one between Northants and Yorkshire on July 2nd, as this slightly-shrunk-to-fit screensave shows:
If there is just one ball left in a limited overs game, and the batting side has to score twelve runs to avoid losing and one more than that to win, what’s the one thing you absolutely must not do? Correct. You mustn’t bowl a no ball. Bowl any other sort of crap ball so long as it’s legal, and the batsman can hit it out of the ground and for that matter out of the county, but the batsman can only get six runs no matter how far and how magnificently he hits it, the game is over and the bowling side wins.
But look what Richard Pyrah did. And Boje hit it for six, and could then have won the match for Northants had he hit the next and genuinely final ball for six also. As it was he hit the last ball for a mere four and it was a tie, snatched by Pyrah from the jaws of victory and handed to Yorkshire on a plate.
Quoth Cricinfo about Pyrah:
Richard Pyrah is batting allrounder who has carved a niche for himself with some steady performances in one-day cricket. His Championship efforts have been less sparkling, ...
Lucky for him he’s a batting allrounder, or that moment of madness could have cost him his entire career. It still might:
It will be interesting to see if the Yorkshire cricket history books will be kind enough to judge Richard Pyrah as simply unfortunate. But the 27-year-old all-rounder earned himself a place in Yorkshire folklore by conceding 12 off the final ball of a Twenty20 match to hand Northamptonshire a tie.
This Cricinfo report of the game, in particular its headline, gives Nicky Boje the credit for this circumstance, mentioning Pyrah’s astonishing blunder only in passing. Yet, excellent though Boje’s slogging was, it was Pyrah who did the truly remarkable thing here, not Boje. If an England footballer had done anything as inept as this during the World Cup, it would have been been front page news, and he would be notorious for ever.
This guy explains how well Pyrah has bowled in other games, and points out that it was a no ball on height rather than because he overstepped the line.
So how the hell is that a no ball? He hit it for six. A no ball for height is if it is too high to hit, isn’t it?
And Yorkshire fans who boo Richard Pyrah are not Yorkshire fans at all.
Pyrah vs Northants home 4-0-19-1 (won)
Pyrah vs Lancs 3.1-0-11-2 (won)
Pyrah vs Leics 4-0-19-2 (won)
Pyrah vs Notts 4-0-17-1 (won)
As a defence of Pyrah’s future career, that’s fine, but I’m afraid it doesn’t excuse the no ball. Pyrah either does know the rules or should have. Obeying them was all he had to do. Anyone could have done this. I could have done this. Boje’s treatment of my ball would have slightly worsened the earth orbit debris problem, but it would not have been a no ball and Yorkshire would have won. As we bloggers say: epic fail.
These guys at Betfair are right on the money, their money:
unbelievable knocked the commentary off with 13 needed of one ball or whatever it was waiting for my profit can’t believe what happened
How much did that bloke lose, I wonder?
It goes to show you never can tell.
Lynn, whose blog is a cornucopia of links to fun stuff and a true shrine to the proposition that your blog is whatever you want it to be, always seems to include copious links to felinity, and I particular recommend link number 2 in this posting, to here, my favourite of the pictures there being this:
The cat is singing a song to itself, called “Three lions on a wall”. Don’t worry if you don’t get this.
But I also clicked on bridge on the right, and found my way to a whole new treasure trove of bridgery, of which my favourite, one of these (although pictures keep being added so you may need to go back another page now), was this, which is in Moscow:
Never seen that before.
Too many of these bridge photos have been very obviously photoshopped, in a (deeply misguided) style of photo post-production all its own. This involves ludicrously unconvincing and garish colours and clouds that are absurdly sculpted and detailed, and I hate it, hate it, hate it. In the days when most of us didn’t know how this was done, okay. Tasteless and ghastly, but okay. But now, what does this prove, other than that you have no taste? Such fakery makes what to start with may have been quite decent snaps look like those tacky backlit pictures you see in cheap Chinese and Indian restaurants, only far worse. But, in among such photo-ghastliness are to found many fine snaps, which look like they look pretty much exactly like what they are of, like the one above. Plus there is the fact that a great bridge horribly photoed can then be chased up and seen in nice photos.
“Pixhaus”, which is where these snaps are, is now moving to a new platform, exclamation mark, for which you have to register, blah blah. So if you feel as I do about such stuff, look now, or for ever not go there again.
I probably wouldn’t be mentioning them, but for the fact that their name is so very appropriate to describe the photos I took of them.
It happened as I wandered south through Leicester Square on my way to my favourite eatery in London, the West End Kitchen in Panton Street, past the WhateverItIs Cinema, where there was a small celebrity-type scrimmage of onlookers. I joined them.
At first I was attracted by this spectacle:
So, who or what had these Real Photographers assembled to photo? The answer was not long in arriving. Four blokes:
Going by the signs all over the front door of the cinema, I assumed that these men were some or all of the pop group Blur. And so, when I got home and looked at what I had (my camera’s eyesight being a lot better than mine), it proved. At first I thought that Blur lead vocalist Damon Albarn had been replaced for the evening - surely not permanently? - by TV chef and Sainsbury food flogger Jamie Oliver. That’s certainly who the one in the hat looks like in the picture on the right there. But further analysis of my other even blurrier Blur pictures convinced me that it really was Albarn, just with more ginger hair and more hatness than usual.
I really should have followed the example of the Real Photographers, and used a bit of flash, at least some of the time. For a better celebrity snap by me, see this, from way back. I do love daylight.
The only proper mention on the www that I have so far found concerning the above eventlet is this pre-announcement:
Tomorrow, january 14th, will take place the red carpet premiere at London’s Leicester Square. All four members of the band are expected to attend this event.
The red carpet premier, that is to say, of a movie about Blur. That’s from a fan-blog in honour of the one in the duffel coat, Graham Coxon, who is a guitarist, and who left Blur in 2002.
Photoed by me in a charity shop, this afternoon:
Bizarre. And what does it say under the bit where it says: “THE SHA MEN”?
Says Alan Campbell “Cams” of the Isle of Arran, Scotland, that being his real name, in his Amazon review of this record:
It has aged well and I would say that this album in particular of the Shamen’s has earned a place in musical history. It was groundbreaking stuff at the time, a sort of pre-techno, pre-industrial mix of music that was very refreshing at the time.
For those more familiar with the Ebeneezer Goode era of the Shamen, I would recommend this if only to see where they were coming from; and what is a raspberry infundibulum anyway?
What indeed? All that Google tells us is that it is in one of the lyrics on “In Gorbachev We Trust”, by The Shamen, which gets us nowhere.
0 of 2 people found that, which was written in September 2002, helpful. So, now that’s 1 of 3.
I remember writing a letter to an American lady friend during the eighties, in which I said that I too trusted in Gorbachev, to bring the USSR crashing down in ruins. More exactly, what I think I said was that although Gorbachev is, on balance, probably not a CIA agent, if he is a CIA agent, then he is doing a superb job and should carry on doing exactly what he is already doing because it is working an absolute treat.
I am slowly reading through The Rest Is Noise by Alex Ross. Slowly, because this is too big a book to be lugging around on my travels in London, and my travels in London are when I do a lot of my reading. To any readers wanting to know more than they know now about twentieth century classical music and the people who composed it, I heartily recommend it. It requires no knowledge of musical notation or musical jargon to read, for one of the most notable features of the Ross achievement is that he is able to write descriptively about music, which is, as anyone who has tried will know, very hard to do well.
I am now at the chapter on Weimar Berlin, Mahagonny, etc.. The previous chapter featured Sibelius, and here are a couple of good quotes to illustrate how well-written, entertaining and informative this book is.
First, here is Ross explaining how the almost instant public admiration, and not just in Finland, that greeted Sibelius contrasted with critical suspicion (p. 175 of my paperback edition):
Mainstream audiences may lag behind the intellectual classes in appreciating the more adventurous composers, but sometimes they are quicker to perceive the value of music that the politicians of style fail to comprehend. Nicolas Slonimsky once put together a delightful book tided Lexicon of Musical Invective, anthologizing wrongheaded music criticism in which now canonical masterpieces were compared to feline caterwauling, barnyard noises, and so on. Slonimsky should also have written a Lexicon of Musical Condescension, gathering high-minded essays in which now canonical masterpieces were dismissed as kitsch, with a long section reserved for Sibelius.
The fourth Sibelius’ symphony is more shockingly modernistic than his earlier works, and here Ross describes the Finnish reaction to that (p. 180):
When the Fourth Symphony had its first performance, in April 1911, Finnish audiences were taken aback. “People avoided our eyes, shook their heads,” Aino Sibelius recalled. “Their smiles were embarrassed, furtive or ironic. Not many people came backstage to the artists’ room to pay their respects.” This was a Skandalkonzert in Scandinavian style, a riot of silence.
Aino being his wife.
Finally, a quote from Sibelius himself. Sibelius was famously fond of alcohol, and also smoked a lot, but despite it all he lived to the age of ninety-one. Sibelius described this thus (p. 191):
“ All the doctors who wanted to forbid me to smoke and to drink are dead.”
The Rest is Noise has merits too numerous to list, but one in particular, for me, stands out, which is that Ross is always aware of what was going on in the popular culture at the times he describes, and especially of course in popular music. Another thing I like is that he is always aware of the wider historical setting in general. I am not just learning more about twentieth century music by reading this book. I am learning more about the twentieth century.