Corbyn: if that's fair coverage, I'm one of these

Phrase here, images adapted from here and here

I don't support Mr Corbyn. I don't even vote Labour, yet, though I may if this sort of thing carries on. It's all a bit like Trump: the Establishment is in hysteria at the appearance of a not-business-as-usual candidate.

Judge the OTT language in this tidbit from the Mail on Sunday (pp 12-13):

"Secret... wipe out... plot... savage new purge... stranglehold..."

Oddly, the side article by Simon Walters about Mark Sandell's "Hard-Left plot" to unseat MP Peter Kyle is not available online, as far as I can see.

Now if the Middle East millions killed and made homeless with the help of Mr Blair and Mr Cameron are a success story for centrists, it is difficult to imagine what extremism must be like. Elsewhere (page 27) is a whinge by John Woodcock MP, who complains of being on a "hit list" but who voted for airstrikes in Syria - perhaps he should moderate his language so that real "hitting" can be seen in a true light.

And Dan Hodges! The picture editor had the nerve to repeat the photo online, but here's the truly awful eye-catcher in the print edition (p. 39):

Mr Hodges has his own wordmark; "Incendiary. Incisive. In the corridors of power". Some modern journalists are so far up themselves that they can see through their own back teeth. Incendiary, yes. Insane, perhaps, if he cannot tell the difference between a wet Labour MP and Ivan Denisovich; or between Stalin, as is implied here, and Hitler, as below.

Let's now turn to a nasty, desperate, unjustifiable piece of innuendo, a touchstone for MSM discussion of radical Labour. On the same double page as the first article there is a smear: A heard B say something nasty about Holocaust ovens to C, and although it has nothing to do with Jeremy Corbyn, it is made to sort of appear that it does:

Hard copy - Mail On Sunday 18.09.2016, pp 12-13

Note:

1. The remark was made not at a Labour meeting, but at the Proms!
2. The alleged offender was not a Labour politician or wonk, but Dr Leslie Jones, the deputy editor of a right-wing magazine called The Quarterly Review
3. The alleged victim was Henrietta Foster, a BBC journalist, who is not Jewish, not related to Michael Foster (of whom more below) and not involved in the Foster-related Twitterspit/spat with Mr Bright. However she had appeared in a film, questioning the son of a Nazi, and is writing a book about Hungarian Jews. At a previous reception, she had previously told Dr Jones to "**** off" - because the latter had voted to leave the EU!
4. The alleged witness was Martin Bright, a former Observer journalist and former worker for Tony Blair's Faith Foundation, therefore dubbed in the headline as "Blair aide", i.e. not.
5. Michael Foster - not involved in the incident - is or was a donor to the Labour Party, is Jewish, and compared Jeremy Corbyn's leadership group to the Nazi Sturmabteilung (SA), because (so I understand) Mr Foster supports the State of Israel and wishes it to continue in the Middle East; I also understand that Jewishness and "Zionism" are not the same thing and that there are Jews who are also not "Zionists" [for example, please see the True Torah Jews website, run by Orthodox Jews]
6. On an unrelated matter, Mr Bright criticised the suspension of Mr Foster from the Labour Party some days ago and some people said supposedly nasty things to the former on Twitter, such as (a) Mr Foster encourages anti-Semitic sentiment by his actions [? support for Israel and/or intemperate language classing non-Zionists as Nazis] and (b) the suspension was a good decision and Mr Corbyn should also remove other activists for Mr Foster's chosen cause. Looking closely at the "tweets", I cannot see anything actionable in terms of anti-Semitism, but perhaps I do not see things as a lawyer can. Also, though the tweeters are described as "Corbynista", the article does not show that they are members of the Labour Party, Labour voters or indeed that they are Corbyn supporters rather than false-flag trolls. Not, of course that the twittling has anything to do with this particular bit of nonsense, anyway.

So, a person who is politically on the opposite side from Labour is abominably rude to another person who was previously abominably rude to himself because of a completely unrelated issue, and is overheard by a third person who was not, pace the headline, politically a "Blair aide" but an ex-worker for one the ex-PM's private organisations. The offensive exchange was not to do with a suspended Labour Party donor or political differences over the State of Israel. Mr Corbyn and his Parliamentary colleagues and co-workers were not involved in any way.

But by golly the link had to be made, even if it didn't exist. The fake tear-out visual says "Corbyn purges top Jewish donor over MoS article... and reignites race row". It is a moot question whether Jews are a race or a religion; also, exactly what either has to do with a political/nationalist issue called "Zionism"; but this tangential scrap is used to complete a papier-mâché parody of Mr Corbyn and his leadership of the Labour Party.

I assume drink had been taken on all sides, but I begin to wonder about the reporter and editor also!

The article is piffle, and so utterly misleading as to remind one of the term "doublethink". Not surprising, when you consider that the MoS' editor is Geordie Greig, a Scot who campaigned in the MoS for the independence of Scotland and against independence for the UK, and continues to do so now. A bovinely stubborn and logically incoherent Mr Greig; an oxymoron, perhaps.

In the oo-er-perhaps-we-need-to-amend-it-a-bit online avatar of the same article, the body text and tear-out are the same, but the headline is changed, and bullet points added. In an egregious (e-Greig-ious?) piece of weaselspeak, the word "separate" is newly introduced in order to admit in passing that two connected things are not connected:

Holocaust film-maker is told to 'get back in the oven' by literary magazine editor as witness reveals separate anti-Semitic abuse by Corbynistas 

• Dr Leslie Jones, editor of the Quarterly Review Magazine, launched rant
• She told BBC's Henrietta Foster to 'get back in oven' at Proms reception
• Witness Martin Bright said he has been targeted with anti-Semitic abuse
• He criticised Labour Party for suspending Jewish donor Michael Foster 

Online, there is also a lovely photograph of the fashionably tieless and unshaven Mr Bright, adding nothing to the core matter but contributing to that all-important visual miasma of victimhood and social justice, for those who find words difficult to read and interpret.

And, presumably realizing that they may be open to a counterattack because of their possibly libellous implications of anti-semitism (a hate crime) against Mr Corbyn, the editors have now included a video clip of Mr Corbyn condemning it. This is the Youtube link, though it seems it's the same as the one accessed through the Mail:




The MoS: for the deranged, by the deranged. I wouldn't get it at all, except for the column by Peter Hitchens who, by the way, though he supports Israel and does not support Mr Corbyn, respects him. I think the MoS would sometimes like to get rid of Mr Hitchens, too - it did for a while, last year:

http://theylaughedatnoah.blogspot.co.uk/2015/05/spoiled-papers-strange-disappearance-of.html

Milo's sweetly preening video here rejoices in Trump's humiliation of the biased and manipulative mainstream media. As he says (2:19), "Here's what no journalist in America seems to understand: everyone hates you!"



Not just in the USA, dear Milo.

Art on Sunday: JD on "Dysphoria" by Lizzie Rowe

"Dysphoria", by Lizzie Rowe
http://artuk.org/discover/artworks/dysphoria-36375

I first saw this painting two or three years ago. It is hanging in The Laing Art Gallery in Newcastle. The reproductions of it on the net are poor and do not reflect the subtlety of the colours nor the depth nor the mysterious shadowy details upper left. The paint is very thickly applied over most of the surface, especially the whites of the dress which seem to have been almost plastered onto the surface.

A very interesting picture, very visceral and with layers of unknown meanings within it. When I then walked forward to read the label, I was rather surprised to see the name Lizzie Rowe. Surprised because I had previously seen some of her paintings in The Biscuit Factory and they did not engage me at all. I was more impressed by other paintings by Paul Harvey (one of The Stuckists) on display in the same show.

I have not met Lizzie Rowe but I know several people who have and who know her extremely well. On her web page she and others make no secret of the artist's journey from married heterosexual man (and father) to transgendered woman. Knowing the story, or most of it from those who know her, it is obvious that the change was traumatic and very difficult psychologically and this is reflected in part in her paintings. One hundred years from now such biographical details will be but a footnote of little consequence, it is the paintings themselves which are, or should be, the focus of attention.

I went back this morning to have another look at the painting just to see if it still evoked the same response in me. It does. The thickness of the paint is a very striking feature of it. The white semi-circle looks as though it has been applied directly from the tube. The record player, the TV and the ironing board on the right are more vibrant than in the reproductions and the strange ambiguity of the top left is even more mysterious than I remember. Thickly applied paint may suggest a slapdash approach but, in fact, it is very carefully done and the various details are clearly defined.

Last night I was looking through a book called "What Painting Is" by James Elkins. This is one of the best books about painting that I have ever read.

Elkins says that painting is the act of 'smearing coloured mud onto paper or linen' and that is the cold analytical definition but '... it is also liquid thought.'

That is a very profound statement. He goes on to quote the painter Frank Auerbach who wrote, "As soon as I become consciously aware of what the paint is doing my involvement with the painting is weakened. Paint is at its most eloquent when it is a by-product of some corporeal, spatial, developing imaginative concept, a creative identification with the subject."

What he is trying to say there is that painting, or any creative activity, is not a product of the conscious mind but is an unconscious process. Just like walking - learning to walk requires great concentration and much effort but the more you do it the less you need to think about how you do it.

Elkins continues the theme of the difficulty of explaining the thought processes involved in creating a painting- "Things only get harder to articulate when the religious meanings come into focus, and it begins to appear that the studio work - the labour - really is about redemption."

That may sound grandiose but art and religion are inseparable. They have been intertwined since the dawn of time. There is no religion or belief system in history that does not have its artistic expression.

Elkins uses the word 'religious' but I would suggest that 'spiritual' would be a better word. As I said above, any creative activity is an unconscious process which is what Auerbach was suggesting. The artist or the craftsman, and to a lesser extent the artisan and the tradesman, is involved in a strange synthesis of hand/eye/brain with the thing being created. It involves a physical effort in the act of creation and often produces a spiritual elation. The mundane, secular world calls that 'job satisfaction' but that is to trivialise it with its hint of smug self-gratification. It is not that at all, it is the calm or 'inner peace' which is the result of deep concentration and, as Auerbach notes, identification with the subject.

In the painting, the figure at the centre is deep in concentration in the act of gathering together the pearls from the broken string and that gives a stillness to the picture; a moment of calm between the activity depicted on the right and the strange ethereal quality coming from the top left of the picture. Others may have a different interpretation but that is my own reading of it.

With the reference to religion made by Elkins, we reach a point where the modern secular world closes its mind. It is not the done thing to discuss religion. The case is closed - there is no ghost in the machine!

But art is a perfect link between science and religion, between the secular and the spiritual. As the painter, the late Iain Carstairs says-

'Art is that endeavour in which consciousness imposes an otherwise intangible element of itself onto matter in such a way that it can be decoded by others: it is an alchemy which maths can never analyse or create.'

And the physicist Richard Feynman had this to say-

"I wanted very much to learn to draw, for a reason that I kept to myself: I wanted to convey an emotion I have about the beauty of the world. It’s difficult to describe because it’s an emotion.

"It’s analogous to the feeling one has in religion that has to do with a god that controls everything in the universe: there’s a generality aspect that you feel when you think about how things that appear so different and behave so differently are all run ‘behind the scenes’ by the same organization, the same physical laws. It’s an appreciation of the mathematical beauty of nature, of how she works inside; a realization that the phenomena we see result from the complexity of the inner workings between atoms; a feeling of how dramatic and wonderful it is.It’s a feeling of awe — of scientific awe — which I felt could be communicated through a drawing to someone who had also had that emotion. I could remind him, for a moment, of this feeling about the glories of the universe."

Art is the gateway to the world of spirit, to heaven. If you prefer a scientific explanation you could say it is the gateway to what the physicist David Bohm calls 'the implicate order' from which the material world flows and to which it returns.

"Vita brevis, ars longa."
___________________________________________
References:

http://www.lizzierowe.co.uk/Lizzie_Rowe/Reception.html

https://laingartgallery.org.uk/

http://www.thebiscuitfactory.com/

http://www.stuckism.com/

http://www.jameselkins.com/index.php?option=com_content&view=article&id=227:what-painting-is&catid=2:trade-books&Itemid=9

Feynman quote from-
https://iaincarstairs.wordpress.com/2013/02/24/knowing-and-observing/

David Bohm (Wholeness & The Implicate Order)
http://david-bohm.net/

I, Prime Minister

How many people have died as a result of ACL Blair's falling-in with GW Bush's mysterious assault on Iraq? How many others in the Middle East, from DWD Cameron's overt and covert actions in the Middle East?

Thinking of Isaac Asimov's Three Laws of Robotics* (and the many related potential conundrums he explored in his stories), I wonder how we might frame general principles for Prime Ministers.

Here is my first and likely heavily flawed attempt:

1. A Prime Minister may not [on aggregate] injure a human being or, through inaction, [on aggregate] allow a human being to come to harm.
2. A Prime Minister must obey the law, Parliamentary conventions, the British Constitution and the outcome of British plebiscites except where such orders would conflict with the First Law.
3. A Prime Minister must protect the sovereignty, security and prosperity of the nation as long as such protection does not conflict with the First or Second Law.

Any suggestions? And what Asimov-like plot twists could arise?

________________________________

*Or four, as they later came to be: 

https://en.wikipedia.org/wiki/Laws_of_robotics#Isaac_Asimov.27s_.22Three_Laws_of_Robotics.22

Friday Night Is Music Night: An Assortment Of Duplessy

JD introduces the eclectic work of a modern composer:

Mathias Duplessy is a French composer of film and TV soundtracks. He is also a musical explorer seeking out other musical traditions from around the world and adapting and fusing these into his own unique blend of music: https://fr.wikipedia.org/wiki/Mathias_Duplessy

Duplessy & the violins of the world: "CRAZY HORSE"



Duplessy & Guo Gan: "LE VOL DU HERON" 


Mukhtiyar Ali & Mathias Duplessy: "Tere ishq natchaya" 



 "Hélas mon cueur n'est pas à moy"


Duplessy & Aliocha Regnard: "The road to east"

The Parliamentary assault on democracy: a sneak preview of coming changes

The British people are inconvenient:

* They lobbied their MPs against the bombing of Syria, thus depriving Mr Cameron of his opportunity to follow Blair's example as condom for the US President's illicit sorties.
* They voted the wrong way in the EU Referendum.
* They persist in the delusion (shared by some of their representatives, e.g. Hons Dennis Skinner, Frank Field, David Davis) that Parliament is there to serve the common man and woman, as though the contemptible riff-raff had ever been intended to share in the rights secured by their betters under Magna Carta and the Glorious Revolution.

The time has come to roll back the reforms of 1832 and other similar historical mistakes. Before the Great Reform Act, the MP for Old Sarum was decided by 7 voters. Even after it, the average British constituency size was merely 1,236.

Now, thanks to unrestricted breeding and the extension of the franchise to men of all classes, women and children (some wish the voting age to be lowered to 16), each seat has 71,300 voters, and once 50 of the present 650 Commons seats have been abolished it will be some 77,250.

This is proceeding most satisfactorily. Already, the people must combine and it takes all of them, including the voice of the littlest Who, to be heard by Horton:

Image adapted from
http://images.mentalfloss.com/sites/default/files/styles/article_640x430/public/jh4kjh4.png

But it must be admitted. even that was an impertinence. As the Duke of Wellington remarked when cheered by his men at the Battle of Waterloo,"It comes dangerously close to an expression of opinion."

As so often, we can learn from the Bard:

A Gentleman informs me, that doing away with 1/13th of MPs is merely the first stage in the national plan. I can exclusively reveal several future developments:

1. Progressive reduction in Commons numbers to two, one for the Government and one for HM loyal Opposition. The draft constituency boundaries are illustrated on the map below.

2. In divisions, each of the two MPs' votes will be weighted according to the number of votes cast for them in the previous General Election. Votes of no confidence will be pointless, since the Government will have a permanent majority.

3. Initially, General Elections will continue on the basis of "one person, one vote". But since the seats roughly represent Wealth Creators and Parasites, the system will at some stage be altered to "one pound, one vote." The expected revenues raised in this way may enable the Government to abolish income tax altogether.

4. The House of Lords to be abolished; their Lordships will be granted automatic membership of the Groucho Club or an alternative London club of their choosing. They will continue to receive their allowances, which will help defray their expenses at the buttery and cellar of their club.

5. Parliament to remove to a UK central location and the Palace of Westminster sold to developers fainting with greed and gratitude.

Where should the new Parliament be sited? The centre of the UK's population is said to be Appleby Magna in Leicestershire; of England (the only country of any importance), Meriden in Solihull. Neither of these is suitable: where is the room for civil servants, policy wonks, paid liars, lobbyists, hairdressers, restaurateurs, mistresses, whores, rent-boys etc?

Fortunately, a planned high-rise building in Birmingham could provide the necessary space and access to exploitable human dross:

http://www.birminghampost.co.uk/business/business-news/plans-birminghams-tallest-office-building-9890130

The top floor might accommodate both MPs and the Speaker, plus office retinue; upper floors could contain the other workers mentioned above; lower floors, the online and on-phone Customer Service Representatives who will perform the functions of the now-redundant constituency MPs' offices; security on the ground floor; and the army of spies where they belong, in the many-tiered basement levels, away from natural light and air.

The savings on taxis and ministerial cars will in themselves be sufficient to fund the move.

Far more efficient, and far less fuss.

Little-Known Facts 1: Laughter in Mesopotamia

One of the most popular features in the Sumerian equivalent of “Reader’s Digest” was a merry look at military life entitled “Humour in Cuneiform”. A sample is shown below:

The text reads: "What's an Elamite urn?" - "Thirty karsha silver* a year."

*(Regarded as a good wedge, in those days.)

The magazine throve because it was light reading - the monthly issue could be borne by a single yoke of oxen.

Ultimately it became a victim of its own success when the increased weight of advertising significantly diverted logistical resources during the Elamite siege of Ur, leading to the fall of the city, the abduction of King Ibbi-Sin and, of course, the slaughter or enslavement of its subscribers.

Choose your battles

Never contend with a Man who has nothing to Lose; for thereby you enter into an unequal conflict. The other enters without anxiety; having lost everything, including shame, he has no further loss to fear.

Baltasar Gracian - The Art of Worldly Wisdom (1647)

Why did Theresa May choose to resurrect the battle over grammar schools and selective education? She may feel strongly about it as many do, but the issue is controversial and Jeremy Corbyn should have no trouble making political capital from it.

Unfortunately for May, she has now engineered a situation where she must contend with a Man who has nothing to Lose. 

Friday Night Is Music Night: A Night At The Operetta

JD serves up a tapas assortment of tunes:

Here is another selection of music which reminds me of my good old daze in Madrid :)

Many years ago there was a bar in Madrid who would have, every five or six weeks, a musical evening. There would be three or four singers plus a piano and they would belt out a few operatic arias and popular songs from Zarzuela which is a Spanish style of operetta similar to Gilbert & Sullivan. The bar was always packed with customers who enjoyed a splendid evening's entertainment. And in the early hours we would meander homewards full of joy and good cheer! I say meander because who walks in a straight line when they are happy? The bar is still there but under new ownership so I don't know if they still have musical evenings. I hope they do and here follows a sample of what we enjoyed on those splendidly convivial evenings.



This next one may look like "The Good Old Days" on BBC TV but the costumes worn on stage can be seen on the streets of Madrid during the Fiesta de San Isidro, 15th May every year (actually a nine day festival)

ART: "Las Tres Gracias", by Alejandra Hernández

Source: http://www.gallerialaveronica.it/artworks/alejandra-hernandez-038-las-tres-gracias/#&gid=1&pid=1
Reproduced with the kind permission of the artist

This is a new work by the Colombian-born artist (1), part of a solo show at Marseilles entitled "Art-O-Rama". (2)

There are many things that attract and interest me about this painting, which I think is a masterpiece.

In the first place, it is women's nudity seen by a woman, and does not have that Peeping Tom feeling of so much conventional nude art, in which the models often seem to be irritated, resentful, uncomfortable. By contrast, I don't think there is much in men's art to match e.g. Zinaida Serebriakova's portraits of her daughters, clearly proud of them physically, in their entirety, and also full of love for them as her children and as extensions of that very confident, sexy and determined self that was apparent in her early dressing-table self-portrait. (3).

With Hernández's painting here, too, the figures are unembarrassed yet not showing off to a male eye. Not knowing at first the circumstances, I had the impression of flatmates in a hot climate, passing through the most enervating part of the day.

As Catherine Beaumont has observed to me, the girl at centre is not staring back at us directly, and this allows the eye to rove around the picture and explore the objects (the artist encouraged sitters to bring artefacts of personal significance with them). I love the innocent absorption on the face of the melodica player and she introduces another dimension - sound - which teases us to imagine what she may be playing and what the timbre might be like (and the puzzle of the grey fingers - a potter, perhaps?) I'm also drawn to the creature - a piranha? - with savage teeth; the fly-whisk; the rather young-child's toy at bottom right; the items on the wall; the studio light.

Then there are the different attitudes, again informal and demonstrating the unconsciously beautiful suppleness of the female body (I'm reminded of a favourite D H Lawrence word, "flexuous"). A series of meetings and conversations paved the way for the palpable atmosphere of relaxation and trust. There is clearly a sense of familiarity and engagement with their emotionally charged objects, with each other and the artist herself. In this nurturing one sees a parallel with Rubens' nude portrait of his young wife in a fur coat - her slight smile and shining eye said, as my wife noted, that she trusted him. (4)

There is humour in the extravagant, abandoned inversion of the girl on the left and its juxtaposition to the tensed concentration of the middle girl, while the one on the right is bored or patient, half-dreaming and with (if I see right) rather modern tattooed eyebrows. All are natural in their own way, but in a way not often seen in art, and merit the term Graces.

And the energizing colours! I love that milky blue, the sort of hue chosen to make you feel less oppressed by heat, yet contrasting with the sharp reds on the shawl and some of the other items.

The girls are self-possessedly adult and yet, because of the socks and some of the items they have chosen to accompany them, also still very young, a picture of transition, a group that will soon separate: I think of Larkin's trainful of people arriving at the final destination - "A sense of falling, like an arrow-shower / Sent out of sight, somewhere becoming rain." (4)

(1) Her site: http://alejandrahernandez.com/
(2) http://alejandrahernandez.com/gallery/art-o-rama-marseille-solo-show-with-galleria-laveronica/
(3) https://en.wikipedia.org/wiki/Zinaida_Serebriakova#/media/File:Serebryakova_SefPortrait.jpg
(4) https://upload.wikimedia.org/wikipedia/commons/3/3e/Peter_Paul_Rubens_-_Het_pelsken_1636-1638.jpg
(5) "The Whitsun Weddings" - https://www.poetryfoundation.org/resources/learning/core-poems/detail/48411

Japan threatens Britain

"Brexit: Japan warns firms may move European HQ out of Britain" -  http://www.bbc.co.uk/news/business-37270372

http://www.private-eye.co.uk/covers/cover-256

Russia And Korea In Free-Trade Talks: Oceania, Meet Eurasia And Eastasia

Latest article on TalkMarkets, here:

http://www.talkmarkets.com/content/economics--politics/russia-and-korea-in-free-trade-talks-oceania-meet-eurasia-and-eastasia?post=105194

Globalism: The Final Conflict Looms

The EU is just a model village of globalism. Leaving the EU - not that we've done it yet - is only the very beginning, tough as that was.

Now comes the big fight, against TPP, TiSA, TTIP etc.

http://www.washingtonsblog.com/2016/09/the-most-brazen-corporate-power-grab-in-american-history.html

"These three agreements solidify the creeping corporate coup d’état along with the final evisceration of national sovereignty. Citizens will be forced to give up control of their destiny and will be stripped of the ability to protect themselves from corporate predators, safeguard the ecosystem and find redress and justice in our now anemic and often dysfunctional democratic institutions. The agreements—filled with jargon, convoluted technical, trade and financial terms, legalese, fine print and obtuse phrasing—can be summed up in two words: corporate enslavement. 

"The TPP removes legislative authority from Congress and the White House on a range of issues. Judicial power is often surrendered to three-person trade tribunals in which only corporations are permitted to sue. Workers, environmental and advocacy groups and labor unions are blocked from seeking redress in the proposed tribunals. The rights of corporations become sacrosanct. The rights of citizens are abolished."

Friday Night Is Music Night: A Good Night Innes

JD introduces the genius of Innes:

Some more music for your friday slot. This time it is Neil Innes; all good stuff :)

Often overlooked by the cognoscenti, Neil Innes is a very talented musician who contributed a great deal to the Bonzo Dog Doo Dah Band. He also provided the music for Rutland Weekend Television and then had his own TV series the Innes Book of Records https://en.wikipedia.org/wiki/Neil_Innes









He did a song with the Bonzos called "can blue men sing the whites?" You may remember it. That set me thinking and I found quite a few 'blue' men and women who really can sing the 'whites' and so another music post was born for later :)

Sackerson adds a couple of bonus tracks: the first ("My pink half of the drainpipe") was featured yesterday on Bill Sticker, and the other one ("Cat meat conga") has given me a friendly wave in my head on and off for decades:

A pint of Pol Roger please

From the Daily Telegraph we hear

One of the world’s oldest champagne makers is preparing to sell the fizzy drink in pint bottles – Winston Churchill's favourite measure – after Britain leaves the European Union, the Telegraph can disclose.

Pol Roger wants to sell champagne in imperial measures for the first time since 1973, when Britain’s decision to join the European Economic Community meant only metric measurements were allowed.

Seems reasonable, but will it have a decent head on it?

ART: JD on Hieronymus Bosch's "The Garden Of Earthly Delights" (c. 1490-1510)

JD explores the mystery of Bosch's painting:

By Hieronymus Bosch (circa 1450–1516) - Galería online, Museo del Prado., Public Domain, https://commons.wikimedia.org/w/index.php?curid=45147809

I found this on one of the BBC web pages about the painting "The garden of earthly delights" by Hieronymus Bosch: http://www.bbc.com/culture/story/20160809-hidden-meanings-in-the-garden-of-earthly-delights

It is mainly about a musical notation painted on the posterior of a naked body in the right hand panel of the triptych. The music was transcribed in 2014 by Amelia Hamrick, a music student at Oklahoma Christian University. Here is the music (played by Jim Spalink):



The convention among art scholars and critics is that the three panels of the triptych are read from left to right as Paradise; this world; a vision of hell. The music is in the panel showing hell but it doesn't sound hellish to me... quite the opposite in fact. But there is another, choral version of the same music which sounds much darker:



I have stood or sat in front of that painting many times in the Prado and it is baffling and fascinating. So what do I know about it? Well, I know that Phillip II acquired the painting at auction in 1591. He also owned this painting by Bosch:

By Hieronymus Bosch (circa 1450–1516) or follower - www.museodelprado.es : Home : Info : Pic, Public Domain, https://commons.wikimedia.org/w/index.php?curid=1170708

- which was used as a table top in his private rooms at El Escorial. They are both now on display in The Prado.

What does it all mean? Well, nobody seems to know. The medieval mind inhabited a very different universe. There are many theories; alchemical references, biblical references, hermetic references as well as the idea that Bosch was on a 'psychedelic trip' because at that time a great deal of the bread was contaminated with the ergot fungus. LSD is distilled from ergot so eating such bread could possibly induce similar effects. I am not entirely convinced by that last one.

Alchemical? Lots of books devoted to the idea but Adam McLean is less than convinced:

http://www.alchemywebsite.com/bosch/alchemy.html

Christianity? Certainly Bosch was a devout Christian and the painting is believed to have been commissioned by Engelbrecht II of Nassau, in or shortly after 1481, when he attended the Chapter of the Order of the Golden Fleece, this Order being a Roman Catholic Order of Chivalry

https://en.wikipedia.org/wiki/Order_of_the_Golden_Fleece

Another link from the BBC page is to art critic Kelly Grovier who points to the existence of an egg at the centre of the painting:

"To find it, one’s eyes need merely draw an ‘X’ from the four corners of the work and an egg marks the spot, smack before us at the dead centre of the painting. Suddenly, the tempestuous vision collapses into a mystical vanishing point. Through the timeless symbol of the unhatched egg, Bosch offers us a way out of his troubled work: the hope of a birth that’s evermore about to be." 

There are many instances of ostrich eggs hanging from the ceilings of cathedrals as well as in Mosques or Temples of other religions both east and west. There were still two hanging in Durham Cathedral as late as 1780.

The second painting mentioned above is called "The seven deadly sins" and is very explicitly Christian. It is painted in the form of an eye with the 'sins' arranged on the periphery. In the centre, in the pupil is a small painting showing Christ rising from the tomb. Around it are written the words 'Cave Cave Deus Videt' - "Take care, God is watching!" Note also the significance of placing Christ in the pupil of the eye. There are several Biblical references along those lines including Deuteronomy 32:10, Zechariah 2:8, Psalm 17:8, Proverbs 7:2.

Hermetic? Phillip and his two principal architects of the Escorial were very well versed in The Hermetica. The new palace of El Escorial was designed to be a replica of Solomon's temple so he and they would see something in the paintings which is now hidden to us with our different perceptions, education and experience.

It is worth pointing out that Phillip, like Bosch, was a devout Catholic but at that period people would not differentiate between Christianity and magic. Phillip's nemesis, Elizabeth of England, was of like mind. One of her most trusted advisors was the Magus John Dee.

I have been looking again at one of my books called "The Mercurian Monarch" and it occurred to me that this was an age when both Phillip of Spain and Elizabeth of England believed in the divine right of Kings as being very real. They believed in a divine succession through Adam, Moses and Solomon to themselves and thus had a direct connection to God which is why they felt able, even obliged, to defy ecclesiastical authority. (The king and queen on the chessboard rank higher than the bishops.)

The established Church itself was extremely hostile to any such heresy although looking at the Gothic Cathedrals or much of Renaissance art one wonders if such hostility was genuine.

I bought this book in the bookshop at El Escorial and it is extremely informative- https://www.amazon.com/Arquitectura-Magia-Biblioteca-Sumergida-Spanish/dp/8478441344 (Originally published in English but I have never seen an English version.) The book is dedicated to Rudolf Wittkower, which brings me to another book I have with the title "Allegory and the Migration of Symbols" by Wittkower: http://thamesandhudson.com/Allegory_and_the_Migration_of_Symbols/9780500274705

I looked through the last chapter "Interpretation of Visual Symbols" and it echoed the thoughts of Ernst Gombrich in his "Art and Illusion." What we see depends on perception and interpretation. Wittkower refers to the chronicles written by Marco Polo after his travels. He was widely denounced as a liar and a fantasist because those who read his stories had no concept of the things he described, they were unable to interpret his descriptions in any meaningful way because such descriptions were outwith their own experience. If you have never seen an elephant or a camel for example then you will regard a drawing of such as pure imagination or fantasy - or the product of a hallucination.

You might like to look at the illustrations from the "Livre des Merveilles", several of which are reproduced in Wittkower's book:

https://www.google.co.uk/search?q=livre+des+merveilles+du+monde&biw=1152&bih=611&source=lnms&tbm=isch&sa=X&ved=0ahUKEwiE8LvlmMHOAhWZOsAKHdQRAHYQ_AUIBigB

As you can see the landscapes are very stylised in the manner of Bosch and there are some very strange looking creatures in there too. Some of the images shown are of Marco Polo's book but, as the Wiki entry says, they should not be confused with Jean de Mandeville's book- https://fr.wikipedia.org/wiki/Livre_des_merveilles_du_monde

There is also the way in which the accepted meaning of symbols changes over time. The most obvious example is the swastika which is a symbol of good fortune in Tibet and parts of India but is now a symbol of evil in the western world.

Another and probably more serious handicap in trying to interpret and understand the painting came with the invention by Brunelleschi of single point perspective in architectural drawings and in paintings. This changed painting forever and also altered how we now look at not just paintings but the world around us. Via photography, cinema and television we have been subtly and unintentionally brainwashed into looking without seeing. We see paintings now as if through a window, it is 'framed' and therefore we are some how set apart from the scene; peeping through a keyhole as it were.

Over the years a few painters tried to highlight the absurdity of perspective; Piranesi, Hogarth, Picasso and Escher among them. Velazquez turned it around with his painting "Las Meninas" and El Greco ignored it altogether. So it is now very difficult and almost impossible to 'see' the painting in the way that Bosch and his contemporaries saw it.

Your best guide to what it all means comes from the American painter Frank Stella who said "What you see is what you see." In other words it depends on your own perception and an interpretation based on your own experience of life which is where education becomes a handicap rather than a help - anything other than the orthodoxy of received wisdom is regarded as heresy.

Make of it all what you will but always remember the famous phrase from the Tao Te Ching: "Those who know, do not speak. Those who speak, do not know" (Lao Tzu). That includes me, so what I have written above should be taken with a grain of salt. Ignore any and all experts. The best way to understand anything, anything at all is to work it out for yourself. Start with your intuition and filter that through your reason and you will arrive at something approximating to the truth.

Note: There is currently in the Prado, Madrid an exhibition of the paintings of Bosch. It ends on 25th September. Go and see it if you can!

https://www.museodelprado.es/en/whats-on/exhibition/bosch-the-centenary-exhibition/f049c260-888a-4ff1-8911-b320f587324a

______________________________________________________________

References (other than those cited in the text):

1) "Architecture, Mysticism and Myth" by W.R. Lethaby, [1892] http://www.sacred-texts.com/earth/amm/amm03.htm

2) "the apple of his eye" http://biblehub.com/zechariah/2-8.htm

3) "Hermetica" - by Walter Scott (Translator) https://www.amazon.co.uk/Hermetica-Trismegistus-Hermes/dp/0877733384

4) The Mercurian Monarch" by Douglas Brooks-Davies https://www.amazon.com/Mercurian-Monarch-Magical-Politics-Spencer/dp/0719009545

5) Symbolism in chess http://enchantedmind.com/html/creativity/techniques/creative_chess.html

6) "Art and Illusion" - by E H Gombrich https://www.amazon.co.uk/Art-Illusion-Psychology-Pictorial-Representation/dp/0714842087

7) Tao Te Ching http://taotechingdaily.com/tao-te-ching-chapter-56-essay/

8) "The Mysteries of Chartres Cathedral" by Louis Charpentier https://www.amazon.co.uk/Mysteries-Chartres-Cathedral-Louis-Charpentier/dp/0902103164

9) "That's the Way I see It" - by David Hockney https://www.amazon.co.uk/Thats-Way-See-David-Hockney/dp/0500280851

10)"The Object Stares Back" - by James Elkins https://www.amazon.co.uk/Object-Stares-Back-Nature-Seeing/dp/0684800950

Friday Night Is Music Night: The McGarrigles

A feast from JD:













Sackerson adds: The penultimate one makes my skin prickle - perhaps because of the harmonies of the sisters' voices as much as for the hymnal melancholy. But the LP I played until the grooves were pretty much worn through was "French Record" - the sequence on YouTube begins with this one:

Northern Cat Fancy Launches New Product

Drinking: New Health Campaign Rolls Out

Who’s Queen Of The Castle? Chelsea Clinton Accepts Democratic Party Nomination

Pic source: http://gizmodo.com/chelsea-clinton-offers-her-mother-adorable-internet-adv-1785615174

As multiple controversies continue to swirl around her mother despite the partisanship of most mainstream news media and Google’s search-engine-tweaking, Chelsea Clinton today stepped forward into the limelight and accepted the emergency renomination in her favour by the Democratic Party.

“This not only reaffirms the established hereditary principle in US politics,” commented a senior campaign official, “but it also recasts Donald Trump as the ‘dirty rascal’, if you know the old children’s game. I don’t see how that oaf can recover from this.”

A visibly distressed Trump has been urgently consulting with his lawyers on the application of the Salic Law to the American Presidency.

Friday Night Is Music Night: The Dance Of Creation

JD celebrates:

Your musical offering for this week is a personal one as I reflect on things 'from this high hill of my old age' :)

The music of my youth, the music of my old age, the music of my soul: "I hear it in the deep heart's core."

;

;

;



"Nos cojimos de la mano, como los Druidas de Bretaña y Le pedimos a Dios o a los Dioses que esa danza de la felicidad. En la que estabamos immersos no terminase nunca en aquella fiesta final. Todos soplamos juntos por la pipa de la paz, De las Culturas y del Amor."- Carlos Nuñez *





Six this time - it could have been 600 or 6000! :)
____________________________________

* "Let us join hands like the Druids of Britain and ask God or the gods for the dance of happiness. The crowning celebration  in which we are immersed shall never end. Together let us all smoke the pipe of peace, culture and love."

Smoking: could genetic testing help smokers' cause?

Genetic research holds out the hope that health advice and public policy could be targeted more precisely. The risks of smoking are not "one size fits all."

"Family, twin, and adoption studies also convincingly demonstrate a substantial genetic contribution to the development of addiction to nicotine, alcohol, and illicit drugs. Heritability estimates for nicotine, alcohol, and drug addiction are in the range of 50% to 60%." (1)

If this is so, then theoretically people could be genetically tested for their vulnerability to substance addiction and advised accordingly. And the others could continue in their habit, moderately reassured that they could stop if they so chose. 

Testing might also help with more precise information about health risks. A longitudinal study of male British doctors (2) suggests that the average reduction in life expectancy is 10 years, but "that is not to say that all such smokers died about 10 years earlier than they would otherwise have done: some were not killed by their habit, but about half were, thereby losing on average more than 10 years of non-smoker life expectancy. Indeed, some of those killed by tobacco must have lost a few decades of life." It may be possible to identify the ones who are most at risk of dying in their middle years.

The same study also suggests that smoking for a few years may not be significantly life-threatening. For those in the 25-34 age group - where smoking prevalence is highest (3) - if they give up during this time, their life expectancy is almost exactly the same as for never-smokers:

"Mortality in relation to smoking", etc. - Fig. 4 (selected area)

If potential smokers could be forewarned of their likelihood of developing an addiction, and of their chances of dying very early from diseases associated with the habit, then the life expectancy gap might be narrowed without blanket bans. 

Those who went ahead despite personalised warnings would at least be doing so on the basis of better information - and that then becomes a liberty issue, like hang-gliding (and cycling, the most dangerous form of transport).*
_________________________________

(1) "Genetic Vulnerability and Susceptibility to Substance Dependence" L.J. Bierut, US National Library of Medicine National Institutes of Health, February 2012 - http://www.ncbi.nlm.nih.gov/pmc/articles/PMC3095110/
(2) "Mortality in relation to smoking: 50 years' observations on male British doctors" Doll, Peto & Boreham, BMJ, May 2004 - http://www.bmj.com/content/328/7455/1519
(3) ASH "Facts at a glance", June 2016 - http://www.ash.org.uk/files/documents/ASH_93.pdf

*I was wrong, I'm afraid. Motorcycling is worse: 1,789 KSI (killed or seriously injured) per billion vehicle miles vs. 1,036 for pedal cycles.  https://www.gov.uk/government/uploads/system/uploads/attachment_data/file/447674/pedal-cyclists-2013-data.pdf 
I'm disappointed - I wanted something to get back at the Puritans of the road.

Gaming Democracy

As a girl, Mother was a great reader. She would go to the glass-fronted book cabinet in the cigar-scented study and feel behind the rows for the good stuff father had hidden there, such as Madame Bovary: every system can be gamed.

She would also spend a lot of time in the school library. However, one day, she entered to find big gaps in the shelves: without warning, all the Jewish and socialist writers had been removed. The new government was cleansing the librosphere of ideological pollution: nothing was to seduce impressionable minds away from socially-agreed norms. This was, after all, the clean and progressive East Prussia of the 1930s.

Half a lifetime later, a classical student was in Oxford’s Bodleian Library, researching an incident in the Peloponnesian War. The index occupied a room on its own, full of massive volumes with pasted-in entries giving descriptions and locations of the millions of items. You felt you had arrived as a scholar, just lifting one of these, thumping it on the lectern and turning the crowded pages. Now, where was a map of the ancient harbour at Lesbos? Ah, here, coded with a Greek φ. He filled in the order slip, but was told he would have to wait for the senior librarian to come back from lunch. The time came, and my friend was taken to another room. There was the large brown envelope; the librarian snipped the corner and slid out the contents – “Lesbos: twelve unretouched photographs of lesbian love.” So that’s what the phi was for. Still, it was a publication, so it was stored, and could be consulted on request. That was liberalism in action.

Today, while Crown copyright libraries continue to grow like Topsy, ordinary public libraries are closing and selling off or throwing away their stock - but we have the Internet, accessible at all times. It is so great that more than ever, we need a librarian to guide us through its virtual stacks. But there is no leather-bound index; instead, we have search engines, chiefly Google.

Now, there is no need to destroy information: the trusted guide can bury it like a needle in a near-infinite haystack. In our world that is so very unlike “1984” (or so we are told) the hidden persuaders could – perhaps do - operate by deliberately bringing us envelopes that we didn’t quite ask for.

Twelve months ago, the former editor-in-chief of “Psychology Today” Dr Robert Epstein described a series of experiments in which people were significantly influenced in their political decisions on the basis of surreptitious manipulation of Internet search results. (1) Even with candidates well-known to the sample groups, voting could be swayed by “20% or more.” In a follow-up article last February he says, “we now estimate that Hannon’s old friends [i.e. Google] have the power to drive between 2.6 and 10.4 million votes to Clinton on election day with no one knowing that this is occurring and without leaving a paper trail.” (2) Yesterday, Pamela Geller wrote a piece relaying and developing Julian Assange’s allegation that one way or another, Google is working on behalf of one of the Presidential candidates and against the other. (3)

At this point I must emphasise that I am not American and not only cannot vote for either Trump or Clinton, but should be extremely perplexed if I could. 

 The point is, every system can be gamed. There is no need to burn material if you can hide it in some rarely-visited and unsignposted corner of the Web; there is no need to disappear dissidents if you can shut off their means of communication (imagine if Milo Yiannopoulos had no other outlet than Twitter); for every person moved by attending one of Trump’s mountebank presentations, there must be thousands making up their minds from their private, yet thoroughly-monitored and interactively-tweaked Internet searches.

The socialists have it all wrong. Great power comes not from owning the means of production but, as Rockefeller showed, from controlling its distribution. Social media and search engines are part of the modern Fourth Estate, the gatekeepers and guides of public information. If they cannot be impartial, democracy faces an existential threat from its persuaders.

Remember what happened when Athens listened to Demosthenes.

UPDATE (27 August 2016): Heads have rolled - 
http://www.breitbart.com/tech/2016/08/27/entire-facebook-trending-news-team-fired-following-breitbart-coverage/?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+breitbart+%28Breitbart+News%29


(1) http://www.pnas.org/content/112/33/E4512.full
(2) https://aeon.co/essays/how-the-internet-flips-elections-and-alters-our-thoughts
(3) http://pamelageller.com/2016/08/julian-assange-google-works-with-hillary-clinton.html/ _______________________________________________________________

This post appeared previously on Talkmarkets:
http://www.talkmarkets.com/contributor/rolfnorfolk/blog/gaming-democracy?post=103515

A painter on a painting: ‘Girl with a Kitten’ by Lucian Freud

Artist Catherine Beaumont looks at Lucian Freud's 1947 "Girl With A Kitten":

Image: Tate - http://www.tate.org.uk/art/images/work/T/T12/T12617_10.jpg

‘Girl with a Kitten’ by Lucian Freud, is to me as an artist, a very fascinating painting. It is a portrait of the artist’s first wife, Kitty Garman, who was the daughter of famous sculptor Jacob Epstein. Freud painted her in 1947, a year before their tempestuous marriage. The painter’s future wife is cloaked under the anonymous title, ‘Girl with a Kitten’, highlighting that this is a double portrait, equally of the ‘girl’ and of the young kitten who is clasped strangely by the neck.

The enigmatic pair are painted in muted, ashen colours, a myriad of dove greys and soft blues, set against the dark swathes of Garman’s mahogany hair, which seem frayed and static from the intensity of the painter’s gaze. The colours are a precursor of Freud’s later impasto flesh tones that would become so acclaimed, yet in this painting they appear restrained like the tight grip of the sitter on the kitten’s neck.

What so thrills me about this painting, as an artist and as a curious human being, is how impenetrable this portrait is. Freud structures the portrait with a three quarter profile of his future wife, with her gaze averted, making her inaccessible, yet he places the kitten staring directly out of the centre of the canvas. With such a direct gaze, it makes me feel that the kitten is more than just a passive addition to the painting, but an emblem of Kitty Garman herself. However, this is surprising as it is so unlike Freud to use symbols in his work, claiming that his ideal in art is to appear ‘in his work no more than God in nature’. But why is the kitten’s gaze so direct and unblinking? Why does it stare with such intensity at the viewer? To me it seems that the kitten plays with the sitter’s name, linking ‘kitten’ with ‘Kitty’, giving the anonymous ‘girl’ an identity and pairing their feline eyes and heart shaped faces.

If this is so, it would make me feel that it tells us more about Garman and Freud’s relationship. In the painting, the girl seems absent, with a look of almost horror in her eyes. She is distant from her grip on the kitten, which makes me wonder if this grasp reflects not herself but the artist’s grip on her, his ‘Kitty’, as her future husband. The look of tension in her eyes makes me think of ‘My Last Duchess’ by Robert Browning – “That’s my last Duchess painted on the wall”… I feel that Garman becomes a possession of the artist, as in the Duke’s ruthless collection, to be collected with many other women that he would love and paint. In this piece, it seems to me that it captures Garman’s dawning realisation of her partner’s turbulent nature, suspending perfectly this line - ‘Then all smiles stopped together’…

On the other hand, on closer inspection you can see that Garman’s eyes are painted in startling hazel green, whereas the kitten’s eyes are a lucid pale blue, which more closely resemble Freud’s eyes.

Source image for second detail:
http://www.tate.org.uk/art/artworks/freud-man-with-a-thistle-self-portrait-t00422

Perhaps then, the captured kitten is not Kitty Garman at all, but represents how Freud felt trapped and suffocated by this serious, pre-marital relationship.

Stark Naked

It’s the minor characters that haunt me, in fiction as well as in real life. On history charges, carrying the important and the celebrated, the camera of our attention pans with it, and for the rest, who remembers or cares?

In Evelyn Waugh’s “Vile Bodies”, one of the Bright Young Things, Lady Agatha, is made to drive a racing car, drunk and without a clue how to do it. The race ends, she has disappeared but her pals continue on their jolly; she is found later by someone else, incoherent, and taken to a nursing-home. Eventually the in-crowd come to see her, bringing (of course) plenty to drink. What fun! That night, her mind begins to whirl again and her temperature soars. Later in the story, we hear as a by-the-way of her funeral.

Again, in the same writer’s “Decline and Fall”, at the school’s sports day the useless teacher Prendergast gets drunk and starts a foot race with a military pistol, shooting young Lord Tangent in the heel. The boy asks “Am I going to die?” through a mouthful of cake given to pacify him; only much later do we find out, in passing, that infection set in and he did.

Some ten years ago, I was working with young NEETS and we had a weekly computer training session in a suite at Edgbaston cricket ground, guided by a man from a local college. One week, he told us he had just been given notice of his redundancy. As the group left, I looked back at his face, trying to find something to say, but the group was going and I had to turn to them; the moment passed. Next week, he was very late, in fact, didn’t come at all. Turned out he’d been found lifeless at his home, apparently having failed to take his diabetes medication. If only I’d found a way to ask him for a drink without sounding patronising. My colleagues tried to reassure me, but I knew what his face had said and that there had been a moment. I failed.

1964: a 29-year-old Ken Kesey gets a gang together on an old school bus and goes on a drug-fuelled road trip. On the way, they pick up a 27-year-old with a young daughter, whom she leaves with a friend so she can join the raucous adventure. She has a complete mental breakdown, is naked on the bus for days and eventually abandoned by the Merry Pranksters, who phone her boyfriend to fly in from San Francisco and pick her up. I often wondered what happened to this minor character – after all, some people are Lead Roles and others, well… - but thanks to the Internet, now I know. A site dedicated to Cathryn Casamo is here: (1)

She was lovely, she was charming, she had this great laugh… another pick-up for the daring boys of the Sixties. So long Marianne, goodbye Ruby Tuesday and so on. She did live, into her fifties and a deliberately nothing burial at sea off Marin County; a footnote. Some may say, she made her own choices. But Kesey himself felt he should answer for his irresponsibility, in a book published not long before his death called “The Further Inquiry.” (2) 

Leaders have to stand in the rye and catch their followers, like Holden Caulfield.

“Whoever destroys a soul, it is considered as if he destroyed an entire world. And whoever saves a life, it is considered as if he saved an entire world,” says the Talmud. (3)

Next time. Please.
_______________________________________________

(1) http://www.cathryncasamo.com/index.html
(2) http://www.nytimes.com/1990/12/09/books/what-a-long-strange-trip-it-was.html?pagewanted=all
(3) https://en.wikiquote.org/wiki/Talmud

Future culture: the Starknado phenomenon

Maenads are worse than sharks...

Starknado!

A worldwide smash-hit film series that began with the legendary “Starknado”.

Winkipedia summarises it thus:

“Starknado” is a 2017 made-for-television disaster film about a waterspout that lifts a group of female skinny-dippers out of the ocean and deposits them in Los Angeles. Hormonal and enraged, the women embark on a terrifying rampage through the streets of South Central LA, butchering gangbangers and creeps of every description until, screaming that they literally haven’t got a thing to wear, they storm through a shopping mall and into a series of high-end clothing outlets. They successfully effect their escape because none of the surviving witnesses can remember what their faces look like.

Aside from sequels and spin-offs, the film spawned many imitations, notably the Drawers series, of which the latest is “Drawers 4: The Revenge” (2022). Billions have been made from associated merchandising and computer games.

A noteworthy social response has been the massive increase in men applying to enter monasteries. 

Reading 2 weeks of the Daily Mail, so you don't have to

Back off a fortnight's hols last weekend, and a pile of newspapers kept for us at the agent's. We keep the crosswords and I thought I'd see which stories still looked worth reading. Here's my digest:

Psychoanalysis that aims to gets results fast: 

http://www.dailymail.co.uk/tvshowbiz/article-3726372/The-3-000-psycho-detox-s-life-track-Sienna-Miller.html ... the Guardian tried it, too - https://www.theguardian.com/science/2011/mar/15/why-tried-hoffman-process-psychoanalysis

A pill that might cure asthma:

http://www.dailymail.co.uk/news/article-3726307/Could-end-inhaler-Game-changing-pill-asthma-cut-lung-inflammation-80-cent.html

Can't find the DM link just now, but it's where I found the following item. Labour voters were even more definitely for "Leave" than Conservatives:

https://medium.com/@chrishanretty/most-labour-mps-represent-a-constituency-that-voted-leave-36f13210f5c6#.dhxdy8n3m

Can you know when you're lucky? -

http://www.dailymail.co.uk/wires/pa/article-3721459/Family-scoop-60m-EuroMillions-jackpot-lucky-call-mum-Florida.html - which reminds me of a very old news item about a man who shook a Royal's hand, reckoned it was his lucky day and did the football pools - only one line, though he was entitled to several - writing above it "winning line" - which it was, "big-time". The company was understandably suspicious and investigated, but it was genuine.

Trump, the Mafia and his vengefulness:

http://www.dailymail.co.uk/news/article-3716125/How-Trump-Mob-offer-not-refuse-killing-building-skyscraper-Donald-s-shrewdest-investment-MAFIA.html - having said that, the Clintons have previously been described by "a Beltway insider" as "retributive" and there are some very nasty rumours about what happens if you cross them. Here's one recent one: http://www.dailymail.co.uk/news/article-3726250/Enemies-Hillary-Bill-say-27-year-old-murder-victim-Seth-Rich-suspected-leaking-DNC-emails-belongs-Clinton-Death-List-people-ties-couple-died-time.html

The 5p "nudge" succeeded hugely in reducing unnecessary plastic bag use:

http://www.dailymail.co.uk/news/article-3715469/YOUR-plastic-bag-victory-Shoppers-home-SIX-BILLION-FEWER-environmentally-damaging-carriers-year-5p-charge-helps-cut-use-85.html

How the introduction of easy credit via cards 50 years ago tempted and stuffed the British consumer:

http://www.dailymail.co.uk/news/article-3715504/The-day-thrift-died-launch-credit-card-50-years-ago-hailed-moment-social-liberation-ushered-wanton-consumerism-instant-gratification-left-millions-saddled-debt.html

And one non-DM story off the internet that I didn't expect - Icelandic horses walk differently (and now we know why):

http://icelandreview.com/news/2016/08/10/origin-smooth-icelandic-gait-discovered - possibly related to the Vikings: http://www.nytimes.com/2016/08/11/science/horses-gaits-ambling-vikings.html?_r=0

Friday Night Is Music Night: Sol Gabetta

JD:

I gave up watching The Last Night of the Proms many years ago. Too boring and predictable, orchestra and audience just going through the motions in a parody of a sacred ritual.

The first night on the other hand is always worth watching and this year, as usual, it featured something new and interesting.

Sol Gabetta is a young cellist born in Cordoba, Argentina and now living in Basel, Switzerland. I had never heard of her before but after a splendid performance of Elgar's cello concerto and an unusual and excellent encore I went looking for more of her work.

This is part of what I found covering a wide spectrum of music, all of it wonderful -



This was her encore at The Proms. The Beeb version has poor sound quality (unusual for the Beeb) so this is a different recording but still excellent -





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"Reasonable adjustment" for smokers

There are many smokers who strongly and quite understandably resent their exclusion from society by stupid blanket bans. Here is a current post airing some of those feelings: 

https://cfrankdavis.wordpress.com/2016/08/12/three-comments-on-facebook/#comment-131908

I gave up cigarettes nearly 40 years ago, but I don't see why they should be chosen as the one minor vice to be stamped out. This is not Puritan England. If we don't try to accommodate differences, we will be perpetually at one another's throats.

So I comment on the above piece in this way:

Targeted change is what we need.

In schools, there is an expectation that schools will make "reasonable adjustment" for special needs children, to promote inclusion. Special needs children aren't expected to stand outside the school building in the cold and wet.

Yet as you say, in other contexts the approach is draconian.

I would suggest that the way forward is to campaign for "reasonable adjustment". If airport smoking lounges are dingy goldfish bowls, get the airport to improve the furnishings. If pubs can offer a separate and nicely-appointed smoker's room, why not?

Besides, if the government succeeds in its obvious plan to legalise cannabis and find another way to raise tax that soaks the lower orders and makes vast, low-taxed profits for beardy businessmen, there will have to be somewhere for stoners to go, too.

"Reasonable adjustment": the war is won by language.