There are no guarantees in life, but it is a sure thing that you will get back what you give.
If you give 100 percent of your attention, energy and time to something, you will get exactly that back.
Spending your time and attention focused on what you cannot do and do not have, assures that more of the same will come. When you concentrate on emptiness, weakness, fault, and blame, it is sure to become a reality.
Nobody has everything, but everybody has something. Use what you have right now. Use it wisely, freely, with love. Wherever you are, use your time, energy and talents to do the best you can right now. Give no thoughts to what is missing. Spend no time wishing it were better. Make sure you give all you have, to make sure you will get all that you need.
Monday 30 March 2009
Tuesday 24 March 2009
"It's like being in Japan"
So said Faris Badwan, frontman of The Horrors, in reference to the tepid crowd reaction to his band's first full live airing of songs from their forthcoming album, Primary Colours.
Be fair. Haven't the Japanese got a reputation for being wildly manic and vocal at gigs? The phrase "big in Japan" has become synonymous with the notion that no matter how unpopular a band becomes, they will always have diehard fans in the Far East. Anyway, I digress. Myself and two friends went to see The Horrors last night, at Bethnal Green's Rich Mix theatre/cinema complex. It was a bizarrely pristine venue that had the air of a record company shindig, and the audience who attended only succeeding in cementing that feeling. Amongst the plaid shirts, ironic knitwear and drainpipes one could pick out singer and performance artist No Bra, members of the Klaxons and S.C.U.M., as well as a rumour that Damon Albarn himself was in the audience.
Before I begin to delve into the band's performance, a small point about their audience. Is it really necessary for everyone who lives in East London/frequents the nightlife there to look at me as if I've crapped myself? Look, myself and the two aforementioned friends were dressed pretty snappily, so it can't have been a fashion related faux pas. Apparently smiling isn't allowed when one passes by Liverpool Street, as every time I cracked a grin at something one of my companions had said, I was frowned upon by others, as if I'd just set a flag of Stalin alight whilst in the Gulag. I'm not going to pretend to be interested in these people's projects, bands, dogs, whatever. It's just that when someone whose studio flat in Dalston is quite clearly trust funded by Momma and Papa has got the gall to turn his or hers nose up at me, it's galling that's all. Oh well. Rant over. Back to the music, man.
Not knowing the names of the new songs forces me to review the gig as an overall performance. Only playing two songs from their previous album, Strange House, they instead focused on new tracks. When they did play Count In Fives, it not only contained an immediacy that was sadly missing from many of the new songs, but also jarred quite awkwardly with the rest of the setlist, as did Sheena Is A Parasite. All that said, I did thoroughly enjoy the new material, though I think the name of the band is now no longer particularly appropriate, both in terms of stage presence (all members of the band, even to some extent, Faris, stood stock still as if it was an Oasis gig) as well sonically. The soundscapes being formed are much more complex than they ever were on Strange House, and the subtlety with which particular passages of music are executed can't help but be admired. A lot of the songs brought to mind some of Joy Division's more escapist and ambient work, something which I thought was showcased in set closer and new single, Sea Within A Sea.
On the train home, I queued up Public Enemy on my iPod. As Chuck D ranted and raved about the government, I thought of the contrast between them and The Horrors. Here is a seminal band, one which struck a chord with a generation, and whose witticisms, lyrical ability and production still sound fresh today. I would argue that The Horrors don't have this same aura...yet. For anyone reading this and shouting "How can you compare Flavor Flav to art rock from London". Well, you can. Besides the two genres of music being worlds apart, the impact each band has on a listener can quite clearly be measured. As they're only a mere two albums in, we'll forgive Faris & Co. They're not quite there yet, but I have the feeling that they're beginning to come into their own, and possibly develop a sound which is more unique and can be attributed directly to them.
Jolly good show.
Be fair. Haven't the Japanese got a reputation for being wildly manic and vocal at gigs? The phrase "big in Japan" has become synonymous with the notion that no matter how unpopular a band becomes, they will always have diehard fans in the Far East. Anyway, I digress. Myself and two friends went to see The Horrors last night, at Bethnal Green's Rich Mix theatre/cinema complex. It was a bizarrely pristine venue that had the air of a record company shindig, and the audience who attended only succeeding in cementing that feeling. Amongst the plaid shirts, ironic knitwear and drainpipes one could pick out singer and performance artist No Bra, members of the Klaxons and S.C.U.M., as well as a rumour that Damon Albarn himself was in the audience.
Before I begin to delve into the band's performance, a small point about their audience. Is it really necessary for everyone who lives in East London/frequents the nightlife there to look at me as if I've crapped myself? Look, myself and the two aforementioned friends were dressed pretty snappily, so it can't have been a fashion related faux pas. Apparently smiling isn't allowed when one passes by Liverpool Street, as every time I cracked a grin at something one of my companions had said, I was frowned upon by others, as if I'd just set a flag of Stalin alight whilst in the Gulag. I'm not going to pretend to be interested in these people's projects, bands, dogs, whatever. It's just that when someone whose studio flat in Dalston is quite clearly trust funded by Momma and Papa has got the gall to turn his or hers nose up at me, it's galling that's all. Oh well. Rant over. Back to the music, man.
Not knowing the names of the new songs forces me to review the gig as an overall performance. Only playing two songs from their previous album, Strange House, they instead focused on new tracks. When they did play Count In Fives, it not only contained an immediacy that was sadly missing from many of the new songs, but also jarred quite awkwardly with the rest of the setlist, as did Sheena Is A Parasite. All that said, I did thoroughly enjoy the new material, though I think the name of the band is now no longer particularly appropriate, both in terms of stage presence (all members of the band, even to some extent, Faris, stood stock still as if it was an Oasis gig) as well sonically. The soundscapes being formed are much more complex than they ever were on Strange House, and the subtlety with which particular passages of music are executed can't help but be admired. A lot of the songs brought to mind some of Joy Division's more escapist and ambient work, something which I thought was showcased in set closer and new single, Sea Within A Sea.
On the train home, I queued up Public Enemy on my iPod. As Chuck D ranted and raved about the government, I thought of the contrast between them and The Horrors. Here is a seminal band, one which struck a chord with a generation, and whose witticisms, lyrical ability and production still sound fresh today. I would argue that The Horrors don't have this same aura...yet. For anyone reading this and shouting "How can you compare Flavor Flav to art rock from London". Well, you can. Besides the two genres of music being worlds apart, the impact each band has on a listener can quite clearly be measured. As they're only a mere two albums in, we'll forgive Faris & Co. They're not quite there yet, but I have the feeling that they're beginning to come into their own, and possibly develop a sound which is more unique and can be attributed directly to them.
Jolly good show.
Monday 16 March 2009
Knock Knock? Who's there? It's the King of Pop
So there you have it. Either you could say I was deceived by a huge marketing exercise (probably). Or that I've managed to get a piece of pop history (possibly). Either way, I've snapped up a load of tickets to see Michael Jackson at the O2 this September, in what is billed to be his final set of concerts ever. That is, until he announces more dates in other countries and plays the same trick all over again.
I've already been criticised by a couple of naysayers at buying a set of tickets to see an aged pop star with a distinctly bizarre past, at around 80 quid a pop. It's a dilemma faced by anyone who's thought of buying tickets who doesn't belong to Jackson's ridiculously faithful core fan base. Lurking in the back of our minds is the thought that essentially, we're paying a lot of money to see a man who's last brief live appearance was pitiful, and who appears more frail by the day. It's a testament perhaps to the legacy of performance that he's left behind him that he can sell out 50 dates at a 20,000 seat stadium in a matter of days. Despite all the accusations levelled against him, the tabloid tales of bizarre rituals and oxygen chambers, Jackson still commands the sort of loyal fan base that many big-stage artists dream of.
When people say he's overrated, I simply cannot comprehend what they mean. Yes, it seems he is almost universally loved. But why? Because he's made what is arguably the best album of all time in Thriller. He has an incredible dance style, meaning that moves like the Moonwalk have etched themselves into popular culture, a public consciousness if you will. Finally, I feel he's the essence of a true performer. It's not everyone who leaves their gigs by strapping themselves into a rocket and blasting off on a jet pack. I don't want to sit here and analyse Jackson's personality, because to do so would detract from the point I'm trying to make. He is (and there's no other way of putting it) fucked up, but isn't the fact that he's had a storm of controversies marr his private life for years on end, and yet still remain popular a testament to his staying power as a legend of popular music.
So, if you've got a ticket to see Wacko Jacko, lucky lucky you. It's almost irrelevant if he turns out to be awful. How many other people of my generation can turn around and say they've seen him in concert? Not many, I'd wager. That alone is worth the ticket price, and until you can dance like him, shut up and stop criticising.
Jackson: Post rhinoplasty, pre "vitiligo"
Sunday 8 March 2009
Golden Age?
Slumdog Millionaire has swept away all competition at this years Academy Awards. As predicted, the British film was joined by Kate Winslet winning the best actress award for her role in “The Reader”.
Accusations that the Danny Boyle directed film glamourised poverty did not stop it from winning eight Oscars, the best by a UK contender since The English Patient won nine in 1997, including the coveted Best Picture and Best Director awards.
Critics have been lauding the results as the culmination of a phenomenal year for British film, but is this year’s success really so out of the ordinary? British talent has always been strong in terms of behind the scenes work, as the winner of this year’s Best Costume Design, The Duchess, confirms. Make up artist Sue Plume, whose credits include Lord of the Rings and The Matrix trilogies, concurs. “What we are seeing is not a freak occurrence. British film has always been consistent, it’s just that this time we got the timing right” Asked whether she thought British film is perhaps overlooked in favour of the more glamourous American industry, she responded; “Certainly. British craft and design is second to none in the industry, but our films are often more subtle and wry than our American counterparts” (She goes on to cite Shane Meadows’ Somers Town, a film that many critics believe deserved a nomination)
Aside from all the glitz and posturing of the Academy Awards, British Film has been gaining momentum for some time. The Film Council, BBC Films and Film4 have all been instrumental in setting up funding, particularly for independent films. Tessa Ross, who is at the head of Film4, stressed the need to keep growing and progressing so that British film never falls into a slump. In 2008 alone British films included productions as diverse as Adulthood, The Chronicles of Narnia and Quantum of Solace, spanning the drama, fantasy and spy genres respectively.
From a financial point of view, the pound’s loss of strength against the US Dollar means that currently, British films are very attractive to American studios, an example being Harry Potter and the Deathly Hallows, the last in the Harry Potter franchise, funded by Warner Bros.
Critically, the films produced over the last decade have been a consistent success. Which makes the talk of a “golden age” in British film deceiving. British films normally eschew the sentimentality and mainstream techniques that are employed in Hollywood productions. Whilst this produces good reviews, it does not necessarily motivate the British public. Faced with an evening where they want to be entertained, they will still go and see an American blockbuster. The challenge for forthcoming British films is to retain integrity whilst simultaneously motivating the film-going public, which is why Slumdog Millionaire has been such a hit.
So, what lies ahead for British film? Despite the assistance provided by the aforementioned bodies (Film4 etc), independent films will find it difficult in the current financial climate, with many projects failing to get off the ground. With banks now reluctant to give out loans, funding is very difficult to come by without the backing of a major studio.
That said, upcoming British films are already showing signs of promise. The Young Victoria, starring Emily Blunt (Devil Wears Prada) looks like it will be in the vein of the classic British costume drama, one which our film industry tend to produce so well, and something that our American cousins have yet to get to grips with. Also approaching is Bronson, the biopic of the murderer Charles Bronson that has already sparked controversy about its shocking subject matter. The Damned United is based on the book of the same name, depicting Brian Clough’s tenure as manager of Leeds United. Michael Sheen, fresh from his portrayal of David Frost in Froxt/Nixon, plays the title role, and looks to once again prove that he is an impersonator extraordinaire.
The upshot is that British film will continue to enjoy success as long as the likes of Winslet, Day-Lewis and Craig put in credible performances in front of the camera, and Boyle, Meadows et al produce similarly excellent performances behind it. Whilst funding may be hard to come by, in times of economic hardship, box office takings rocket, which can only be a good thing.
Accusations that the Danny Boyle directed film glamourised poverty did not stop it from winning eight Oscars, the best by a UK contender since The English Patient won nine in 1997, including the coveted Best Picture and Best Director awards.
Critics have been lauding the results as the culmination of a phenomenal year for British film, but is this year’s success really so out of the ordinary? British talent has always been strong in terms of behind the scenes work, as the winner of this year’s Best Costume Design, The Duchess, confirms. Make up artist Sue Plume, whose credits include Lord of the Rings and The Matrix trilogies, concurs. “What we are seeing is not a freak occurrence. British film has always been consistent, it’s just that this time we got the timing right” Asked whether she thought British film is perhaps overlooked in favour of the more glamourous American industry, she responded; “Certainly. British craft and design is second to none in the industry, but our films are often more subtle and wry than our American counterparts” (She goes on to cite Shane Meadows’ Somers Town, a film that many critics believe deserved a nomination)
Aside from all the glitz and posturing of the Academy Awards, British Film has been gaining momentum for some time. The Film Council, BBC Films and Film4 have all been instrumental in setting up funding, particularly for independent films. Tessa Ross, who is at the head of Film4, stressed the need to keep growing and progressing so that British film never falls into a slump. In 2008 alone British films included productions as diverse as Adulthood, The Chronicles of Narnia and Quantum of Solace, spanning the drama, fantasy and spy genres respectively.
From a financial point of view, the pound’s loss of strength against the US Dollar means that currently, British films are very attractive to American studios, an example being Harry Potter and the Deathly Hallows, the last in the Harry Potter franchise, funded by Warner Bros.
Critically, the films produced over the last decade have been a consistent success. Which makes the talk of a “golden age” in British film deceiving. British films normally eschew the sentimentality and mainstream techniques that are employed in Hollywood productions. Whilst this produces good reviews, it does not necessarily motivate the British public. Faced with an evening where they want to be entertained, they will still go and see an American blockbuster. The challenge for forthcoming British films is to retain integrity whilst simultaneously motivating the film-going public, which is why Slumdog Millionaire has been such a hit.
So, what lies ahead for British film? Despite the assistance provided by the aforementioned bodies (Film4 etc), independent films will find it difficult in the current financial climate, with many projects failing to get off the ground. With banks now reluctant to give out loans, funding is very difficult to come by without the backing of a major studio.
That said, upcoming British films are already showing signs of promise. The Young Victoria, starring Emily Blunt (Devil Wears Prada) looks like it will be in the vein of the classic British costume drama, one which our film industry tend to produce so well, and something that our American cousins have yet to get to grips with. Also approaching is Bronson, the biopic of the murderer Charles Bronson that has already sparked controversy about its shocking subject matter. The Damned United is based on the book of the same name, depicting Brian Clough’s tenure as manager of Leeds United. Michael Sheen, fresh from his portrayal of David Frost in Froxt/Nixon, plays the title role, and looks to once again prove that he is an impersonator extraordinaire.
The upshot is that British film will continue to enjoy success as long as the likes of Winslet, Day-Lewis and Craig put in credible performances in front of the camera, and Boyle, Meadows et al produce similarly excellent performances behind it. Whilst funding may be hard to come by, in times of economic hardship, box office takings rocket, which can only be a good thing.
Sunday 1 March 2009
Roaming sloanes
First, an apology. My camera to computer cable thing has gone walkabout, so all the brilliant photos that would otherwise be accompanying this post are sadly absent. Hopefully I'll find it by the end of this year and then I'll put them up.
Right.
I fancied a stroll in West London, so I set off for Sloane Square and more specifically King's Road. It's a part of the world which depending on the current state of affairs in my life polarises my temperament for better or for worse. On one hand the sight of all this luxury and affluence makes me want to think, "the world is in a cracking state of affairs", but on the other, "why can't I have some of that?”
Anyway, I digress. A lot has been said of the diffusion of King's Road into "just another high street". I agree with the view that it's definitely become a lot less diverse and with chain shops popping up all over the place, a lot less independent. You wouldn't find a new version of Malcolm McLaren and Vivienne Westwood plying their trade here these days.
All of that said, there are still some brilliant boutiques to be found, if you're prepared to walk a bit. Much has been made of the Oxfam on Shawfield Street (off King's Road, to the left) for it's designer togs at knockdown prices. Now, I don't know if I visited the shop when it had got a poor delivery, but in my opinion it was well, a bit dull. The best buy I could find was a Paul Smith shirt (£30) on the solitary, sad looking "Men's Fashion" rail. If you really want to find some bargains, head instead to the British Red Cross shop on Old Church Street (by Cineworld, on the left). Here I found shirts by Thomas Pink, Boss, Aquascutum coats and even a pair of Church's brogues (which, to my annoyance, were two sizes too small).
If you've got a bit more money burning a hole in your pocket, I suggest heading to the shop at Terence Conran's Bluebird. It's a boutique and clothes shop in the vein of the small Paul Smith outlets, not only stocking some cracking clothes but also books, cakes and quirky toys. I found a good selection of knits, shirts and formalwear by VW, APC, and excluding Dover Street Market, the most well stocked collection of Comme Des Garcons that I've seen in London. Even if you don't intend to buy anything, I suggest you visit here because it's just beautiful to look at.
Shop's aside, if you're interested in architecture, King's Road and the surrounding area is a joy for one's eyes. If you take the time to walk up and down the little squares that are tucked away either side of the main road, you'll find some striking architecture, none more so than on Glebe Place. Standing tall amongst a row of standard West London houses (steps down the front, whitewashed, accessible basement, etc) is a house which looks like it should be in one of Tolkein's books. I took several photos of it, and my words can't really do it justice, but if you've got the time, go and take a look at it for yourselves, because it certainly impressed me.
After all this walking (and to appreciate King's Road properly, you'll have to do a lot of it) you'll no doubt be hungry as I was, and again it has plenty to offer. So far, I'm aware I've been painting a picture of King's Road as a haven of creativity, independence and wonderful escapism. It's not like that, there are indeed McDonald's, Starbucks, HMV, etc looming large over the landscape, but that isn't to say there isn't plenty of other things either. There's no point coming here if all you're going to do is sit in McDonald's as your gut slowly expands and then panic on the toilet as several pounds of fries, Big Mac and McFlurry all violently exit your body. You can do that anywhere. So don't waste the money of travelling here if you intend to shop at one of the chains, because you're missing the point.
Back to eating.
There are plenty of eateries along King's Road, of varying price and quality. The two which I've picked are my favourites because they combine what every poor traveller craves, cheap and good quality. If you want a good filling meal, head to the Stockpot (next to Designer's Guild and near Cineworld). I've known the owners of this place for years, and they've never upped the prices, nor changed the quality of the food. For a tenner you could get yourself a couple of beers, a main course (spaghetti vongole is perfect) and a decent pudding, similar to one you'd get in a pub (cake and custard etc).
Number two would be the kebab shop, Ranoush Juice. This is a kebab shop which started on Edgware road, and which I've been fond of ever since. When I say kebab shop, it’s not your standard greasy piece of dog meat from down the road. For £6.50 I got a lamb kebab and a beer, and it kept me full well until I got home that evening. It's a very local atmosphere so expect lots of Lebanese folk to come in barking in their native tongue.
Finally, for general "organised entertainment" there are a few noteworthy things on offer. First, the Royal Court Theatre, right by Sloane Square tube station. Second, the Saatchi Gallery, possibly my favourite art gallery in London. Saatchi allows free reign to the visitor, allowing unlimited amounts of photos to be taken, and entry is entirely gratuit. There are two cinemas on King's Road, the Cineworld that I've already mentioned, but I'd recommend the Chelsea Cinema, situated about halfway down. It's got a very distinctive front, and although it only shows one film per day, if you plan ahead you can see a film that you want, as well as basking in the more attractive surroundings that independent cinemas bring (it's part of the Curzon group of cinemas).
So concludes my account of King's Road. There's a lot I've left out, partially because of quality control reasons, but partially because I'd rather people go and discover the rest for themselves.
If anyone tries to copy this and forward it to the Lonely Planet, don't because I've already sent it to them. Expect to find this in the London Guide at all good bookstores near you.
Right.
I fancied a stroll in West London, so I set off for Sloane Square and more specifically King's Road. It's a part of the world which depending on the current state of affairs in my life polarises my temperament for better or for worse. On one hand the sight of all this luxury and affluence makes me want to think, "the world is in a cracking state of affairs", but on the other, "why can't I have some of that?”
Anyway, I digress. A lot has been said of the diffusion of King's Road into "just another high street". I agree with the view that it's definitely become a lot less diverse and with chain shops popping up all over the place, a lot less independent. You wouldn't find a new version of Malcolm McLaren and Vivienne Westwood plying their trade here these days.
All of that said, there are still some brilliant boutiques to be found, if you're prepared to walk a bit. Much has been made of the Oxfam on Shawfield Street (off King's Road, to the left) for it's designer togs at knockdown prices. Now, I don't know if I visited the shop when it had got a poor delivery, but in my opinion it was well, a bit dull. The best buy I could find was a Paul Smith shirt (£30) on the solitary, sad looking "Men's Fashion" rail. If you really want to find some bargains, head instead to the British Red Cross shop on Old Church Street (by Cineworld, on the left). Here I found shirts by Thomas Pink, Boss, Aquascutum coats and even a pair of Church's brogues (which, to my annoyance, were two sizes too small).
If you've got a bit more money burning a hole in your pocket, I suggest heading to the shop at Terence Conran's Bluebird. It's a boutique and clothes shop in the vein of the small Paul Smith outlets, not only stocking some cracking clothes but also books, cakes and quirky toys. I found a good selection of knits, shirts and formalwear by VW, APC, and excluding Dover Street Market, the most well stocked collection of Comme Des Garcons that I've seen in London. Even if you don't intend to buy anything, I suggest you visit here because it's just beautiful to look at.
Shop's aside, if you're interested in architecture, King's Road and the surrounding area is a joy for one's eyes. If you take the time to walk up and down the little squares that are tucked away either side of the main road, you'll find some striking architecture, none more so than on Glebe Place. Standing tall amongst a row of standard West London houses (steps down the front, whitewashed, accessible basement, etc) is a house which looks like it should be in one of Tolkein's books. I took several photos of it, and my words can't really do it justice, but if you've got the time, go and take a look at it for yourselves, because it certainly impressed me.
After all this walking (and to appreciate King's Road properly, you'll have to do a lot of it) you'll no doubt be hungry as I was, and again it has plenty to offer. So far, I'm aware I've been painting a picture of King's Road as a haven of creativity, independence and wonderful escapism. It's not like that, there are indeed McDonald's, Starbucks, HMV, etc looming large over the landscape, but that isn't to say there isn't plenty of other things either. There's no point coming here if all you're going to do is sit in McDonald's as your gut slowly expands and then panic on the toilet as several pounds of fries, Big Mac and McFlurry all violently exit your body. You can do that anywhere. So don't waste the money of travelling here if you intend to shop at one of the chains, because you're missing the point.
Back to eating.
There are plenty of eateries along King's Road, of varying price and quality. The two which I've picked are my favourites because they combine what every poor traveller craves, cheap and good quality. If you want a good filling meal, head to the Stockpot (next to Designer's Guild and near Cineworld). I've known the owners of this place for years, and they've never upped the prices, nor changed the quality of the food. For a tenner you could get yourself a couple of beers, a main course (spaghetti vongole is perfect) and a decent pudding, similar to one you'd get in a pub (cake and custard etc).
Number two would be the kebab shop, Ranoush Juice. This is a kebab shop which started on Edgware road, and which I've been fond of ever since. When I say kebab shop, it’s not your standard greasy piece of dog meat from down the road. For £6.50 I got a lamb kebab and a beer, and it kept me full well until I got home that evening. It's a very local atmosphere so expect lots of Lebanese folk to come in barking in their native tongue.
Finally, for general "organised entertainment" there are a few noteworthy things on offer. First, the Royal Court Theatre, right by Sloane Square tube station. Second, the Saatchi Gallery, possibly my favourite art gallery in London. Saatchi allows free reign to the visitor, allowing unlimited amounts of photos to be taken, and entry is entirely gratuit. There are two cinemas on King's Road, the Cineworld that I've already mentioned, but I'd recommend the Chelsea Cinema, situated about halfway down. It's got a very distinctive front, and although it only shows one film per day, if you plan ahead you can see a film that you want, as well as basking in the more attractive surroundings that independent cinemas bring (it's part of the Curzon group of cinemas).
So concludes my account of King's Road. There's a lot I've left out, partially because of quality control reasons, but partially because I'd rather people go and discover the rest for themselves.
If anyone tries to copy this and forward it to the Lonely Planet, don't because I've already sent it to them. Expect to find this in the London Guide at all good bookstores near you.
