Saturday, 5 September 2015

Purged!

This is, as Rupert Murdoch would say, the humblest day of my life. I just voted in the Labour leadership, deputy leadership and mayoral candidate elections. And by return of email, I got the following message, telling me that I simply wasn't wanted:


Woe! Woe is me. Woe, woe and thrice again woe. I've been debarred, expelled, banished, excluded. My voice has been silenced and I've been denied my democratic rights.

Maybe it was because I said that I didn't consider myself a Labour supporter. Maybe someone noted my claim that I voted for the Monster Raving Loony Party in the general election. Whatever the cause, the result is unequivocal and admits of no appeal: I've ended up on a blacklist. I am beyond the pale, an outcast from Eden. And now I truly know the meaning of shame. I have done those things I ought not to have done, and I have left undone those things that I ought to have done, and there is no health in me.

Obviously I've written back to ask how I go about reclaiming the thirty pieces of silver (well, the three quid) that I gave them when I registered. But that'll be scant compensation for the feeling of rejection I'm experiencing.

Just for the record my votes (spurned, spurned, all spurned) went to:

Leader: (1) Liz Kendall, (2) Yvette Cooper, (3) Jeremy Corbyn, (4) Andy Burnham

Deputy: (1) Stella Creasy, (2) Angela Eagle, (3) Ben Bradshaw, (4) Caroline Flint, (5) Tom Watson

Mayoralty: (1) Christian Wolmar, (2) Gareth Thomas, (3) David Lammy, (4) Tessa Jowell, (5) Diane Abbott, (6) Sadiq Khan

I do like that 'Kind Regards' sign-off, though. That's a nice touch, don't you think? Even if they are purging me.

Friday, 4 September 2015

This just in...

I see Newsweek magazine is running what it calls an 'exclusive':


Reading down a bit further, however, it turns out that it's not quite an exclusive, since the writer, Barney Guiton, does credit this blog with having found the story in the first place, for which my thanks.


Postscript: Following the appearance of this article, the TimesArchive Twitter account tweeted the following:

Theatricals - David Bowie

David Bowie's appearance in the title role of Bertolt Brecht's play Baal, broadcast on BBC television in 1982, wasn't one of his greatest acing performances. It's not much of a play either, to be honest, but then it was Brecht's first and he was only twenty when he wrote it. Quite why the BBC thought it was a good idea to revive such a minor piece remains a mystery, though you can see why they cast Bowie.

To accompany the production, Bowie recorded a five-track EP of songs from the show, his final release for RCA Records and Cassettes. And last up in the running order was this very short but very good track, 'The Dirty Song'.

Thursday, 3 September 2015

Theatricals - David Courtney

David Courtney is probably best known for discovering Leo Sayer and producing the first two albums (the good ones). I've written about this connection elsewhere. Courtney also co-wrote and co-produced Roger Daltrey's first album.

This song, though, comes from his own debut album, First Day (1975). According to the original sleeve-notes, written by Anne Nightingale, 'David Courtney's music is self-evident'. I'm not sure about that. This song in particular sounds to me like it belongs on a film soundtrack, a kind of easy-listening prog, as though the Walker Brothers were covering Pink Floyd. This impression is helped along, no doubt, by the fact that Barry Morgan (drums) and Alan Parker (acoustic guitar) both played on the Walkers' comeback album, No Regrets, the same year, while the lead guitar is by Dave Gilmour.

Who this was supposed to appeal to, I have no idea. But I like it. So this is the closing track from the album, 'When Your Life Is Your Own'.

Wednesday, 2 September 2015

Brother, don't you walk away

Yvette Cooper's speech yesterday, in which she called on the government to respond more positively to the refugee crisis spilling over from the Arabic world, has rightly been acclaimed for its statement of basic humanity. But there's one bit that I think is a little misleading.

'Hungary and Sweden have had three times the number of asylum claims as Britain,' she pointed out, 'even though they are smaller countries.'

Well, yes, that's true, but is it relevant? Is land area the correct measure for the proper allocation of refugees? Other people have recently attempted to shame Britain by producing figures showing number of refugees accepted in relation to national population. And again, that doesn't necessarily seem relevant.

Personally, I don't think it's sensible or right to try to make such comparisons at all. Cooper's core argument is sufficient - that it's simply wrong to turn away from such a crisis: 'It's immoral, it's cowardly and it's not the British way.' This attempt to quantify our obligations is misguided.

Apart from anything else, if we are to draw up league tables, then neither area nor population is sufficient, since these don't confront the most commonly heard claim: that 'Britain is full'. If we're going to use a measure to compare countries, then surely the more appropriate method would be to factor in both area and population, by looking at density.

So I thought I'd post some graphs, to see if it helped at all. These are the population densities of the fifteen most populous countries in the European Union:


The UK is the third most densely populated of the major European nations, though it should be noted that there's a pretty steep fall-off after the top two. But you can see the pointlessness of Cooper's comment about Sweden: the geography of the place means it's not really comparable, so why compare?

If we then break down the constituent countries of the UK, you get this result:


To put that in the context of the first graph: Wales and Northern Ireland would come between Italy and the Czech Republic in the top half, while Scotland comes in just above Sweden at the bottom. England, meanwhile, has almost exactly the same population density as the Netherlands, despite having an area more than three times the size.

But that's not really enough information either, because of the vastly disproportionate size of England compared to the others. So, breaking it down further, we can separate out the English regions and include them along with Wales, Scotland and Northern Ireland:


Which would suggest that London is somewhat skewing the figures. London really is full, while Scotland's virtually empty.

Apart from that, I'm not sure we get very far. As I say, I'm not convinced that these things help any discussion of immigration or asylum. Better to stick with Cooper's moral message: 'How can we be proud of our history of helping those who fled conflict if our generation turns its back?'

Theatricals - Alan Price

The 1970s were an odd time for Alan Price. The previous decade he'd formed the Animals, who were terrific but (I always felt) a little tame on record, thanks to Mickie Most's production, as compared to their live act. And then he'd led the Alan Price Set who recorded a few good tracks and a whole lot more that were harmless.

So having done the pop star thing, Price began to branch out in the 1970s, and got into movies. Most famously he and his band appeared on screen repeatedly in Lindsay Anderson's O Lucky Man (1973), providing a musical counterpoint to the story. Less famously, and certainly less advisedly, he took on the role of Alfie Elkins in Alfie Darling (1976); his performance didn't exactly eclipse Michael Caine's interpretation of the character. By the end of the decade he was writing a musical based on Andy Capp.

His finest moment, though, was on the 1974 album Between Today and Yesterday, half of which was a stunning evocation of his childhood in the north east, accompanied by the superb arrangements of Derek Wadsworth. Contained here was the basis for a genuinely great musical, had he wished to pursue it.

This is 'Between Today and Yesterday' itself, in a version released on the 1976 live album Performing Price. If I'd been making the TV series Our Friends in the North (1996), this is the song I would have ended with, rather than Oasis's 'Don't Look Back in Anger'.

Tuesday, 1 September 2015

Theatricals - Peter Straker

According to Wikipedia, Peter Straker is 'best known for appearances in Doctor Who and the 1985 ITV series Connie.' Is he? Round my way he's best known for being in the 1968 original London cast of the musical Hair, for his collaborations with Freddie Mercury, and for his fabulous androgynous role in the 1971 film Girl Stroke Boy (he's involved in 'a relationship that is as godless as it is fashionable').

Where we're all agreed, then, is that he's not best known for his 1972 debut album Private Parts. But he probably should be, because it's a fine album.

It was written and produced by Ken Howard and Alan Blaikley, who had earlier brought us Dave Dee, Dozy, Beaky, Mick & Tich and the Herd. Now, despite having made their name with the simplistic stomp of 'Have I the Right' for the Honeycombs, Howard and Blaikley had pretensions and aspirations. Which is why some of their others hits referenced subjects such as Milton ('Paradise Lost'), Coleridge ('The Legend of Xanadu') and Orpheus ('From the Underworld').

And on Private Parts, they decided to go for arrangements that would match their imagination. The songs are surprisingly non-immediate, but they grow on you, they grow. And the main selling-point is Straker's fantastic voice.

This is 'When Love Was Hard to Come By'. Somewhere there's a West End musical missing its big show-stopping ballad.