Wise Blood

I have started a new blog -  Wise Blood -  on wordpress.com. I'll be writing about the arts, movies, politics and history. Please have a look and let me know what you think. Cheers

Er, can I have a word? An infrequent survey of current usage. (Part2)

In a previous blog, I discussed the trend, by some sports broadcasters, toward shortening 'regularly' to 'reguly'. Well, I can report that the trend is rapidly heading toward fait accompli status. The lost syllable, rather like Jimmy Durante's 'Lost Chord' is getting frequent airplay, not just here in NZ but also in the UK and the USA. And not just by sports broadcasters but by political and current affairs pundits too.
Happily, 'reguly' is not alone. It has been joined by 'particuly' and 'probaly'. It will be interesting to see whether or not radio and TV stations continue to give currency to this modification of adverbs. It occurred to me that there is a well-established precedent in the use of 'Parlament' by political reporters- the 'i' having gone missing in action some time ago. Another redundant syllable.

Cricket broadcasters also have revived a splendid misnomer from the past. Once more we are informed that a shot by a batsman has 'dissected' the field rather than 'bisected' two fieldsmen. Actually, I'm all in favour of vivisection being practiced on our cricketers. That would, at least, give them some practical purpose.

I have also noticed an interesting ploy that some broadcasters use when they are aware that they have made a factual mistake. Looking earnestly at the camera, they intone; 'Let's get that right', thus co-joining us, the unwitting viewers, to their blunder. Nice.

Cricket broadcasters are also responsible for another curiosity of what I suppose is evolving usage. Where the definite article is followed by a word beginning with a vowel, rather than hardening 'the' to 'thee' to create a natural break between the two words, a 'y' is added to the beginning of the second word thus by-passing inflection. So, instead of; 'At thee end of thee over...', we have; 'At the yend of the yover he hit the ball in the yair.'  This phenomenon, too, I should report, is spreading. Yesterday, on radio news, I heard; 'He yonly just got the news..'  As Popeye said; 'I yam what I yam.'

Finally, another curiosity, that's been around for a while, that I like. The use of 'Yous' to indicate 'All of you' or 'You lot' is something I often hear used by kids in town or by anyone at all in country areas. One of the many oddities of the English language is its inability to distinguish between second person singular and second person plural. It's 'You' in both cases. French and German, for example, both make the distinction. Indeed, in German, there is even a verb that is used to describe the formal transition from the use of the formal plural case to the more intimate singular. 'Yous' solves the problem.

Desert Island Discs Part 2

During last year I selected the 5 albums that I'd most like to have on a desert island. I wanted the choices to reflect that music that I'd instinctively grab in a fire or suchlike. In order to place some pressure on myself, I originally selected 10 albums and then pared those 10 down to 5. What follows are the other 5 albums that didn't make the first cut.

Hard Again  Muddy Waters (1977)

Often regarded as the great man's comeback album, Muddy was 64 when he recorded this for Johnny Winter and Blue Sky Records. I love this disc and give it my own award for the most perfectly named album ever.
Johnny Winter produced, played and helped assemble a top band for this searing, rough as session. The first track, 'Mannish Boy', has never been played better or with more intensity. Like Ravel's Bolero, it maintains strict tempo whilst all the time growing in passion and ferocity. It marks Muddy's return to the studio and top form in the most emotionally decisive way. And the other players let you know that they know, too. The rest of the album is a master class in ensemble blues-playing.

Trout Mask Replica  Captain Beefheart and His Magic Band (1969)

I have to admit that when I first heard this album, I didn't get it at all. But people whose opinions I respected swore by it. Indeed, one really good friend insisted that all he needed to survive was a copy of Terry Sothern's The Magic Christian, The Captain's Trout Mask Replica and a constant supply of Jim Beam.
Often described as experimental music, Beefheart and his producer, Frank Zappa, drew on many sources for their material, Blues, Free Jazz, Folk - even Sea Shanties. I remember reading that the band had rehearsed for 9 months prior to going into the studio and I figured that if they'd taken that much trouble over it, then maybe a greater effort was needed from me to get to grips with this difficult music.
Since then, I think that this disc has been played more often than any other disc I own. Don Van Vliet was a genius who challenged us to re-imagine the diversity of our culture I believe. And this album stands as a lasting testament to him.

Loudon Wainwright III  Loudon Wainwright (1970)

I don't have too many discs like this one. It is, patently, folk music -  performed solo and acoustically by a young man who sings and plays guitar. Its themes are bleak and often ironic. But the keening voice has a stark beauty and he sings of things that matter to all young men with even a little poetry in their souls. In the spring I had great hunger. I was Keats, I was Blake, he recalls in School Days, the opening track. Later on, he confides that Movies are a Mother to Me and caustically observes that he's Glad to see You got Religion.
At the time this was released, I much preferred Loudon to Bob Dylan. He seemed to me to be more, well, honest.

I Never Loved a Man the Way I Love You   Aretha Franklin (1967)

Simply, one of the greatest soul records ever and, therefore, one of the greatest records ever. It was Aretha's breakthrough album and established her, rightly, as a superstar. The killer band includes King Curtis on Tenor Sax, Aretha's sister, Carolyn, on backing vocals and the whole thing was produced for Atlantic Records by Jerry Wexler.
The track list includes Respect, Dr Feelgood and the title track. The overall effect leaves Viagra a flaccid second. One of my few regrets is that I've never seen Aretha (or Otis Redding) live on stage. This disc is substantial compensation for that omission.

Funky Kingston  Toots and the Maytalls (1972)

This album has appeared in a number of different formats since its original release on Dragon Records in 1972. The best known version is probably the 1976 version released on Mango. The music is joy unconfined and is proof positive that even a John Devnver composition can sound great in the right hands. Take me Home, Country Roads, like everything else is a triumph of arrangement and performance. Even that old chestnut Louie, Louie receives a reading that makes you forget Animal House.
Funky Kingston helped to bring reggae to an international market and undoubtedly paved the way for The Wailers and others to reach that market.

So that's all ten accounted for. I hope the list may encourage you to dig out your own dusty copy and give it a whirl.

One good thing about music, it makes you feel all right.

Act of Faith

Once again New Zealand is at the leading edge of social reform with the passing today in Parliament of the Religion and Faith Disestablishment Act and the Religion and Faith Freedom of Association Act.
Essentially, with effect from 1st July, 2011, all organised religions or faiths will cease to exist in their current form and be handed over to private enterprise to administer. Assets held by religious organisations will be sequestered and made available, under tender, to the new private providers.

The Bills received their third reading today and were speedily ratified by the Unified Parliament. A spokesperson for The Ministry of Social Development said that it was gratifying to finally clarify the distinction between State and Church. 'These necessary reforms also reflect the Government's will to allow market forces to shape the future for all of our estates. The Church, in that sense, is no different from Health, Transport, Prisons and Defence - all of which are now being effectively managed by private providers.'

All citizens must register as members of one of the sanctioned Faith and Worship Providers (FWPs).
FWPs must provide a prospectus setting out the full range of services and related costs. Government will strictly regulate how the FWPs operate and ensure that there is no prospect of cartels or restrictive trade practices having a negative impact on competition for worshippers. 'We don't want the Anglicans and the Catholics getting together to fix the price of absolution. That would never do' said a spokesman from the Secular Audit Office (SAO)

It is expected that the advent of corporatised religion will foster a number of radical departures from previous practice and the Government will provide favourable tax concessions to FWPs that invest in approved architectural initiatives that reflect both religious and corporate philosophy.

To ensure that all Citizens' rights of Freedom of Association are properly observed, units of the newly-formed Shaolin Security plc will be stationed at key Corporate Cathedrals, Mosques and Synagogues throughout the country. 'We are determined to enforce these freedoms', the Prime Minister said at a press conference today.

Will The Real Te Papa Please Stand Up?

There's been quite a lot of tub-thumping going on recently about Te Papa and its supposed failure to satisfy the needs of art-lovers everywhere. The likes of Sir Wira Gardiner, Chris Parkin and Rosemary McLeod have been touting the prospect of a new national gallery so that more art is on show rather than languishing in the capacious vaults of Te Papa Tongarewa.
These demands for more art seem to me to be redolent of the Monty Python sketch where a repellent slacker family mindlessly demand 'more beans'. 'We've lost the old museum', We want to see the Goldies', 'We can't find our way to the fifth floor', they complain. Aided and abetted by Chief Executive, Mike Houlihan who, unwisely I believe, said he felt that art had been relegated to the attic. 'More art', 'More beans', More art', More beans' they chorus.

Factually, Te Papa displays significantly more art than Buckle Street ever did and many, many more people see it than ever visited the old gallery. So, what's the problem? It appears to be that there's a need for a dedicated 'art only' facility.
When I worked at Te Papa, there were these staples of everyday life known as the 'corporate principles' One of them was that 'Te Papa is bi-cultural'. Any new business proposal put up for consideration had to satisfy the outcomes determined by the mission statement and its corporate principals. Te Papa was there to tell the story of New Zealand and to make that telling accessible to visitors. The context of that challenge had to be bi-cultural if Te Papa was not to wilfully revise history.
At that time, and still - to the best of my knowledge - Te Papa was the only bi-cultural museum or gallery in the world. We all knew that presenting the bi-cultural face to the world would be difficult. There were tensions between the Treaty partners but most people subscribed to the initiatives and strategies that were developed to promote the bi-cultural principle. And. of course, some didn't. Their opposition was often passive and occasionally, aggressively active and found its reflection in some of Te Papa's external critics.

What some of those critics want, I think, is their biculturalism patronisingly painted, safely framed and hung on a wall somewhere to be admired and clucked over. More importantly, if its removed from its bi-cultural context altogether, it once more becomes the preserve of the educated middle classes and at less risk from the inquisitive eyes and hands of those with their caps on back-to-front.
So, here's a question for you; 'What's so special about art that it needs a separate gallery?' And in any event, if excellence is the criterion, there simply isn't enough good art in the Te Papa collection to justify and sustain a full-time exhibition gallery.
And, while I'm in the mood, here's another very important question; 'What's any of this got to do with Te Papa's chairman?' His and the Board's role is governance -  not operations. The State Services Commission needs to remind the Boards of Crown Owned Enterprises that they're not supposed to choose the carpet, they're supposed to discharge their fiduciary responsibilities, that's all.

Road Signs and Nietzsche

I was always attracted to the idea of a benign dictator. The platonic ideal of a philosopher king seemed to me to be both romantically and politically imperative. Nietzsche's more recent voicing of the need for the 'overman', whilst probably not free of gender bias, echoed Plato's dream without recourse to nationalism or class consciousness. An objective, authoritarian, easily understood provider of the 'right' direction for all to follow and achieve their goals.

And so, it does seem to me, that in road signs, the inanimate embodiment of a way of thinking to realise our societal aims has been achieved. Indeed, who would argue with, ''SLOW DOWN' or 'SLIPPERY WHEN WET' and who would want to? Advice of this quality and prescience would come at a fairly sharp premium if dispensed by a doctor or a lawyer - those middle-class but egregious symbols of the platonic ideal. But we are all able to benefit from these worldly and succinct suggestions without any draining of the domestic exchequer. They are freely given and if they seem a little, well, didactic - then compliance is its own reward and obviates the need for later reproof.

Removing the need for the elusive 'third way' will remove uncertainty from our lives and significantly reduce the unhappy prospect of an accident. Not wanting to get in line and move in the right direction is only an attractive option for anarchists and the intellectually impaired. Moving forward with the majority, maximises our ability be on time and under budget. It's worth remembering, too, that 'Bolshevik' means 'majority party.'

This comprehensive approach to providing a template for behaviour, extends into the animal kingdom and evidences an ecological awareness that reflects the truly benign nature of the 'overman'.  Road Signs serve us in many ways, from gently reminding us to have adequate rest when driving long distances to urgently insisting we reduce speed immediately on dangerous roads. But whether it is a suggestion or a command, it's always in our best communal interests to follow the dictates of our Road Signs.  That way, we'll arrive safely and  have contributed to the common good. You know it makes sense.

Desert Island Discs

I wondered, having been around the block more than a few times, whether I could now make the definitive, scrupulously honest, pared-down list of albums that I'd need to survive over time, emotionally, on a desert island. It seemed to me that most of the lists I'd made, or those I'd seen made by others, were 'best' or 'greatest' and not necessarily what you'd save in a fire or take with you on 'Survivor'. Most of all, these lists, I think, are made for others to read and be impressed or provoked by. 
So, what follows are details of the 5 albums that would sustain me on this notional island until Friday arrived. The criteria around selection were; Select 10 albums initially and then reduce the list to 5 (which placed a greater burden of honesty on me); No so-called classical music- that is orchestral or chamber music- simply because that would make the exercise impossible for me; And, yeah, complete honesty - no posing.

In no particular order, here are the 5 albums;

Sticky Fingers  The Rolling Stones (1971)

The first album the band released after their departure from Decca and the first album not to have any contribution from Brian Jones. Mick Taylor, who replaced Jones, makes his first album-length appearance. The idea for the cover came from Andy Warhol and speculation still rages around exactly whose crotch that is.
Arguably, the greatest rock album ever, each track, from Brown Sugar to Moonlight Mile reveals new delights upon repeated listening. Mick's vocals are at their most able and Charlie Watts lays claim to being the Prince of Drummers. Moonlight Mile, in particular, reaches sublime heights as its haunting melody uncovers a ravaged tale. One for the ages.

Idle Moments  Grant Green (1964)

Steeped in the St Louis tradition of blues, guitarist Green brings a deceptively simple-but urging -quality to this Blue Note album that was released at a time when America was still reeling from the shock of John Kennedy's assassination.
I have to confess that this album is here mostly because of the nearly-15 minute long title track. Its synthesis of Green's gently persuasive guitar, Bobby Hutcherson's plangent vibraphone, Joe Henderson's sinuous tenor and Duke Pearson's sympathetic piano is, for me, one of the most gorgeous experiences in the whole of recorded music. I'll leave it at that.

Decade  Neil Young  (1977)

Neil Young, more than any other artist working in any media, has consistently collided with my life in the most telling and enduring way and it would be unthinkable not to have something from him in this list. I've seen the man, live, on several occasions and his music has always seemed to be present at significant times for me.
He has been the most rewarding and the most frustrating of musicians through his checkered career. This is the man who brought us the unforgivable Trans but also stood almost alone, from his generation, in his recognition of Punk as an important musical and political voice.
Decade is a collection of 35 of Neil's songs recorded between 1966 and 1976 and reflects most of his musical collaborations and political ideas during that time. It is essential listening.

Howlin' Wolf  (The Rockin' Chair Album)  Howlin' Wolf  (1962)

I've written earlier on this Blog about The Wolf and Going Down Slow, which is one of the tracks on this album. I am of the opinion that Muddy Waters was the greatest of the post-war blues men and his influence on popular music is well documented. But I do not believe that Muddy made an album as great as this one.
9 of the tracks were penned by Willie Dixon and include such staples as Spoonful, The Red Rooster and Back Door Man.
Listening to this album is a seminal experience and The Wolf brings everything he has to the microphone. If I had to own only one blues disc, this would be it.

Shoot Out The Lights  Richard & Linda Thompson  (1982)

This was the final album that this husband and wife team were to make together. Shortly after its release, the couple separated and Richard commenced a new relationship with Nancy Covey, who he'd met the previous year in the States. Much has been written about the content of this album and its reflection of the Thompsons' failing marriage. But most of the material, including Don't Renege On Our Love, had been written some two years earlier.
Whatever the ironies, the music is extraordinary. Richard's stinging fusion of folk/jazz styles and Linda's always achingly vulnerable vocals are brilliantly combined to best effect by Joe Boyd's austere production. At times the tension seems relentless as this bleakly beautiful album gives up its bitter treasures.

So, those are the 5 that made it to the podium. It was, as you may expect, difficult to select 5 from so many but I'm pretty sure I got it about as right as I could. Try it yourself in the safety of your own home.