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Memories

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Image from WikimediaI was thirteen when the Beatles released Sergeant Pepper’s Lonely Hearts Club Band.

As were so many others I was already captivated having heard such extraordinary songs as Eleanor Rigby, Tomorrow Never Knows and Strawberry Fields. Now – on experiencing their first post-touring long-player – I was completely blown away and a lifelong love of the works of Messrs. Lennon, McCartney, Harrison and Starr was cemented.

My most immediate and startling memory, however, of the post-Pepper-release period was not directly to do with the Beatles or with the record at all. My school at that time held an annual public speaking competition, involvement in which (somewhat strangely in the light of subsequent events) I contrived to avoid throughout my entire career there. This widely disregarded event took place over two days. On the first each of the competitors mounted – one at a time – the stage in School Hall to recite a poem. On the second day they gave a five minute address on some subject either close to their hearts or the choice of which they coldly calculated would most appeal to the judges and/or the forcibly assembled audience.

On day one of the 1967 competition one of the seniors (a popular prefect – words rarely heard together in those days) stood proudly upon the platform and recited – instead of the usual Tennyson, Wordsworth or Coleridge (or if particularly daring, Byron or Keats) – the lyrics to Lucy in the Sky With Diamonds, a song at that point banned by the straight-laced BBC for being quite obviously about the experience of taking LSD. We plebeians in the stalls gasped and looked shiftily at each other and to the masters present, trying to gauge how they would react to their solemn ritual being thus traduced.

The world – naturally – did not end. The staff simply looked bored and did nothing. The popular prefect did not win the contest. We mere mortals, however, realised that something, somewhere had changed irrevocably – and we were right.

What was most remarkable about Pepper of course (apart from the dazzling imagination and unprecedented soundscape on display) was the sheer variety. From LSD to traffic wardens, from Victorian fairground barkers to Indian gurus… all human life appeared to be represented not merely on Peter Blake’s pop-art cover but also within.

For this reason Paul McCartney’s whimsical musing on just what it might be like to achieve three score years and four seemed hardly out of place at all and those of us who could not begin to imagine ever reaching such a decrepit age simply took it as one more example of a fertile imagination.

This week – you will by now have deduced – I turned sixty four!

 

 

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 "Janus"- watercolour (and photograph) by Tony GristHerewith the promised 2017 update!

It feels as though a great many things happened over the last twelve months. The turn of the year feels like a pretty good time not only to take a retrospective glance at where we have got to but also – in an immediately succeeding post – to where we might be headed in 2018.

The Kickass Canada Girl’s job has occupied her greatly throughout the year and though much has been good about it it has not all been plain sailing. As is often the case with one’s employment, situations can change and not always for the better. The Girl is still tip-toeing around this particular evolution endeavouring to to determine exactly how it will effect her. It is very much her nature to start looking for alternatives when things are less than optimal, so keep an eye out for developments in 2018.

One of the great delights of the year was entertaining guests in our lovely home – both those traveling from the UK (two sets) and from elsewhere in BC. Being a new boy on the island I take great pleasure in showing off its delights to other newcomers and with the summer being really rather decent we had a splendid time both in our garden (yard) and out and about around Greater Victoria and the on island. I got to revisit Long Beach and Tofino, which is always a good thing, and we were able to dine out an impressive amount.

Further travel developments found me in December paying my first visit to Mexico. If you have not yet taken the opportunity to have a look at the photos that I posted herewith you would be most welcome so to do. I love the colours and the light, and the whole trip was a delight.

This has also been my first year on the board of Intrepid Theatre. Not only have I met a great many fascinating and inspiring new people but we have also experienced some really good theatre. It has definitely been a positive year on the arts front (as spectators at least) with theatre and music providing many splendid moments of enjoyment, emotion and thoughtfulness.

A major issue hinted at in previous year’s retrospectives has been our long-running legal battle with the vendor and realtor (estate agent) who sold us our house. I am much relieved to report that the matter has finally been settled (in the immediate aftermath of Christmas) though considerably less content to reveal that the settlement was for a significantly smaller sum than we believe it should have been. Having been obliged to sign a confidentiality clause I cannot reveal the terms, but I feel strongly moved to cavil at a legal process that makes it extremely difficult to get a fair settlement without investing a considerable sum of money (with no guarantee at all of any return) to push the matter through the courts. As it is the defendants have paid us a not inconsequential sum whilst still protesting that this does not admit any wrongdoing on their part. I leave the gentle reader to try to reconcile these two apparently antithetical positions.

The monies have, of course, been most welcome in support of what has been perhaps the major happening of the year – the extensive renovation of this house into a potentially exceptional home. Regular readers will have observed the pictures that I posted at the start of the summer, as we had the back of the house torn off and a wonderful new deck built. At the end of October the second phase commenced and The Girl and I became basement dwellers for duration as this extensive project has steadily inched nearer to its conclusion. More on that in the next post.

Well – that is goodbye to 2017. It always felt as though it were a transitional year somehow, and it still does.

2018 though… That’s a different matter!

 

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Image by Tony Hisgett on Wikimedia Commons“The music is in the air. Take as much as you want.”

Edward Elgar

It is highly likely that a fair proportion of the English expat community of Victoria were unknowingly gathered together in one place on Monday evening last.

The Kickass Canada Girl and I were amongst those attending the Royal Theatre for a concert by the Victoria Symphony Orchestra (the first such that I have experienced) featuring a programme which included works by Ralph Vaughan-Williams and Edward Elgar.

In musical terms one cannot get much more ‘English’ than this and the Brits appeared to have turned out in force!

Though I have long been a fan of Vaughan-Williams I was not previously familiar with the F Minor Tuba Concerto – the which work was featured on Monday. In common with most other commentators I do not find the bass tuba particularly suited to being featured as a solo instrument, but the orchestral passages in the piece are marked by the composer’s familiar elegant phrasing and it proved to be most enjoyable as a whole.

Now – I grew up listening to Elgar. As would seem to be the case for many others I came first to the Enigma Variations, falling in love with the Nimrod and sensing that it somehow encapsulates much that is good at the heart of the English pastoral. I discovered the E Minor Cello Concerto somewhat later but the work has grown to have a profound effect on me. The piece – Elgar’s last major work – was composed shortly after the end of the Great War (during which he had written very little) and has been described as a lament for a lost world. To me – and clearly to many others – its elegiac and melancholy mood captures to perfection the sense of tragic loss both of a generation and of the innocence of the ‘golden summer’ that preceded that catastrophic conflict.

The last time I head the Cello Concerto played live was at a concert at one of the schools at which I worked. The cello soloist (still a schoolboy at the time) was Tim Lowe – now a highly respected international performer. His rendition of the work moved me to tears, as did that of English cellist Raphael Wallfisch on Monday last. Wallfisch’s reading is maybe a little more clear-eyed and less sentimental, but the power of the work over those of us who are susceptible (Englishmen mayhap?) is undeniable.

Mind you – the Nimrod also has me blubbing uncontrollably as well. I’m not entirely sure what to make of this, except that Elgar clearly tapped into something that speaks eloquently to at least some of us who hail from from that blessed plot.

The first time that one hears a ‘new’ orchestra is always a somewhat nervy experience. I am delighted to report that the Victoria Symphony – under its new director, Christian Kluxen – gave an entirely admirable performance. I very much look forward to hearing them again.

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Image by Tabercil on Wikimedia CommonsA sad evening last night…

Way back in the mists of time (actually somewhat earlier this year!) it was announced that the ‘Legendary Gordon Lightfoot’ would be coming to Victoria this fall for a couple of concerts at the McPherson Playhouse.

Wikipedia says of the great man:

“Gordon Meredith Lightfoot Jr. (born November 17, 1938) is a Canadian singer-songwriter who achieved international success in folk, folk-rock, and country music, and has been credited for helping define the folk-pop sound of the 1960s and 1970s. He has been referred to as Canada’s greatest songwriter and internationally as a folk-rock legend.”

Now – it is probably fair to say that for many of us who hail from the UK (and elsewhere ‘abroad’) familiarity with both Mr Lightfoot himself and with his oeuvre are somewhat limited. The name I knew, of course, but I could not bring to mind any of his classic songs.

For the Kickass Canada Girl, however, it was a different matter. She grew up on Mr Lightfoot, and his compositions – as for so many Canadians – were woven into the tapestry of her upbringing. Not a second was wasted, therefore, in placing an order for two tickets for the aforementioned show, so that she might revisit old favourites and stir some memories in the process, whilst introducing me to something that I had previously missed.

So where – the gentle reader will doubtless be wondering – does the sadness come in? Well – the Girl and I did something that we virtually never do: we left at the interval!

Mr Lightfoot used to have a beautiful rich haunting baritone voice but sadly – on last night’s evidence at least – it is no more. In a form in which the words are pretty much everything, the strained croak with which we were greeted at the McPherson yesterday struggled to render many of the lyrics intelligible. In addition, Mr Lightfoot’s four-piece band were obviously under instruction not to provide too much competition and were dialed back almost to comatose. Given that none of them provided backing vocals either the man’s voice was left painfully exposed.

Checking his history on the InterWebNet I gather that over the years (Mr Lightfoot is 78!) illness has taken its toll and – though I would be one of the last people to suggest that he should not indulge his love of performing to the many appreciative fans who were clearly willing to overlook such frailties – I can’t help but think that he needs a little help. The Girl and I saw Burt Bacharach some years back at the jazz festival in Perugia. He was 80 at the time and – recognising that his own voice was shot – had surrounded himself with three gorgeous young vocalists (male and female) to handle such ‘chores’ whilst he amused himself (and us!) on the piano. It made for a stunning concert!

In the case of Mr Lightfoot the Girl was – understandably – really quite upset.  When the tenderly preserved memory of something that has played such a key part in one’s life is delivered such a rude awakening it can leave one somewhat shaken.

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Detail from a portrait by Jenny C HallI find myself moved to an unexpected degree by the recent death of that giant of the British theatre – Sir Peter Hall – at the age of 86.

It is a fact of life I suppose that, once one enters one’s autumnal years, the deaths of those with whom one is familiar – whether actually close or not – will have a cumulative and increasing impact. There have been losses over the past few years amongst that small group whom I personally hold to be ‘heroes’ which have been hard to take. Inevitably that number is only going to increase.

Peter Hall was not – for me – directly among that coterie. I am slightly ashamed to admit that I saw few of his many productions and – with rare exceptions – they do not feature in my personal canon of influential experiences. This is not in any way to denigrate the value of his vision, talent or achievement; in such matters opportunity and circumstance set us all on our own particular paths.

It is impossible, however, not to be overwhelmed by his impact and influence on British and international theatre during the post-war years. Consider:

  • he introduced London audiences to the work of Samuel Beckett in 1955 with the UK premiere of ‘Waiting for Godot’ when he was only 24.
  • in 1960, at the age of 29, he founded the Royal Shakespeare Company at Stratford, which he ran triumphantly until 1968.
  • he became the director of the National Theatre in 1973 and oversaw its protracted, painful but ultimately successful transfer from the Old Vic into its permanent complex on the South Bank in London.
  • he built an international reputation in theatre, opera, on TV and in film.
  • he was the founding director of the Rose Theatre in Kingston in 2003.
  • he was – throughout his career – a vociferous champion of public funding for the arts.

The news of Sir Peter’s death stirs a couple of thoughts and memories.

The National Theatre’s new home was opened in 1976 with a production of Howard Brenton’s ‘Weapons of Happiness‘ in the only one of the three theatre spaces then operational. I see from the InterWebNet that it ran for 41 performances – at one of which I was present. I marveled at the still unfinished building and at the wonderful standard of the production. The National was to become a most important venue for me – I have seen many productions there over the years; done the backstage tour more than once; participated in youth theatre workshops in its rehearsal rooms… and met the Girl for our first proper date in the bar outside the Lyttelton Theatre.

I am also a fan of the Rose in Kingston. Having been at school in Kingston and subsequently involved with youth theatre in the surrounding area, I was only to keenly aware of the lack of a theatre of any sort in what is an important centre to the south of London. I am delighted that the Rose now so splendidly fills that gap.

One sadness regarding Sir Peter’s last years was his diagnosis with dementia in 2011. Having observed my mother’s decline over her final years it must have been particularly poignant to witness such an intellect brought so low for so long.

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Image from Wikimedia Commons by http://www.flickr.com/people/theeerin/It did not occur to me for a single second that – when during the composition of my last post, (touching as it did upon the subject of my new bicycle) I described the Sturmey Archer three-speed rear hub with which the cycle that I was given in 1965 as ‘prehistoric’ – said engineering marvel might actually still be in production!

Discovering from the InterWebNet that this is indeed the case I was rendered what can only be described as ‘gob-smacked’!

Sturmey Archer was apparently established in Nottingham in the UK in 1902 as a division of Raleigh Cycles and production of their most ubiquitous model – the AW three-speed hub gear – commenced in 1936. For an extended period virtually every three-speed bicycle sold in the UK was fitted with a Sturmey Archer hub gear.

The company got into financial trouble towards the end of the last century and by 2000 was on the verge of bankruptcy. Following a period during which it appeared that the company would disappear without trace the entire assets were eventually sold to a Taiwanese company called SunRace, who moved the whole operation lock, stock and barrel to Taiwan.

Despite discovering that much of the machine tooling was obsolete SunRace persevered with production of the hub gears – and as of 2016 the famous three-speed AW model (amongst many others) was still in production.

Now – whereas I cannot for the life of me imagine what I am going to do with at least two thirds of the twenty four gears that I have on my new machine, I am mighty glad that I don’t still have to cope with the old three-speed hub gear.

But then – I am an old codger these days!

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Photo by Andy Dawson ReidIt was with great sadness that we heard the news over the weekend of the passing of that wonderful British actor – Tim Pigott-Smith.

Still performing on the stage in his seventieth year, Tim Pigott-Smith was amongst the very best of his generation of thespians and was duly awarded an OBE in this year’s New Year Honours for his services to drama. His career encompassed film, TV and stage – with wide screen appearances in films such as ‘The Remains of the Day’, ‘V for Vendetta‘, ‘Clash of the Titans‘ and ‘Quantum of Solace‘, and starring stage roles in (amongst many others) ‘King Lear‘, ‘King Charles III‘, ‘Enron‘ and ‘A Delicate Balance‘.

It was a TV role, however, that was to make him a household name; the part of police superintendent Ronald Merrick in ITV’s 1984 adaption – under the title ‘The Jewel in the Crown‘ – of Paul Scott’s epic quartet of Raj novels. Pigott-Smith deservedly won a BAFTA award for his portrayal of this complex and flawed character, standing out even amongst the glittering array of talent that had been attracted to this vast and ambitious project.

I was certainly far from alone in declaring in 1984 that this be the finest television drama that had yet been made; beautiful filmed and acted, thoughtful adapted and deeply thought provoking to view, complex, stirring and heart-breakingly moving. This was television drama as the highest possible art form. In the three decades since the series’ first showing I have still seen nothing to compare with it.

We were fortunate enough to have met Tim Pigott-Smith on a number of occasions through friends of ours. For once the old adage that one should never meet one’s heroes seemed simply not to apply in his case. He was a complete gentleman, generous with his time and attentions and an excellent conversationalist. There is no question that he will be greatly missed.

I think that it is perhaps time to re-watch “The Jewel in the Crown“…

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Image by MykReeve on Wikimedia CommonsThe weekend just passed saw the occasion of the one hundred and sixty third University Boat Race between Oxford and Cambridge on the Tideway in London. Long having been a follower of the event (at which for entirely spurious reasons I always cheer for Oxford) this year’s late start – determined naturally by the tides – meant that I was able to watch the BBC coverage of the race live from the other side of the world. It was a good tight race which Oxford deservedly won, but they were pushed all the way by the heavier Cambridge crew.

I must confess to a twinge of nostalgia whilst viewing the race. The school by which I was employed immediately prior to retirement lies on the banks of the Thames on the Surrey side of the boat race course. Reference thereto is made habitually during the BBC race commentary, particularly in years in which some alumnus of the establishment is himself taking part in the contest.

The TV coverage this time around afforded a fleeting glance of the ongoing building works at the School, showing it already to have been transformed from the place that I knew to somewhere considerably more remote. Such things are – of course – ever thus…

The best way to watch the Boat Race – by the by – is probably by staying at home and following the TV coverage. An event that takes place at reasonably high speed over a four mile course gives little opportunity for involvement on the part of the spectators who are actually present – and unless they have had the foresight to have provided themselves with some means of following the commentary (by radio or on the InterWebNet) they stand little chance of knowing what transpires whilst the competitors are out of their sight.

Those of good fortune might find themselves invited to a gathering in one of the buildings that flank the river. Should the hosts have provided large screen TVs, a copious supply of ‘Harry Champers‘ and what Canadians call ‘Appies‘, one can amuse oneself by getting gently plastered whilst following the build up to the main event – rush out onto the balcony to watch the eights fly past – then back in again to see how it all turns out in the end.

My best viewing experience – however – came about back in the late 80s through having a dear friend whose sister was that year the cox of the Oxford boat. My friend – being a lady of ferociously single mind – determined that we would watch the race from beyond the finish line – in the boathouse at which the Oxford crew would disembark after the event. She swept past the security proclaiming that she was the cox’s sister and we camp-followers stumbled along behind crying “We’re with her…!”. We watched on the big screen as our friend’s equally ferocious sister bullied the Cambridge cox out of the race before rushing down to the foreshore to cheer crew and cox as they landed in triumph.

Happy days!

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Image by Alana Elliott on Wikimedia CommonsBefore I came to Canada in 2015 I was entirely unaware of Stuart McLean, or indeed of the much loved weekly CBC Radio show – The Vinyl Café – that he hosted for more than twenty years.

I am absolutely certain that the Kickass Canada Girl – who has long been numbered amongst the humourist and storyteller’s many fans – had for my benefit at some point extolled his virtues long before we crossed the pond for keeps, but I am a bear of advancing years (as well as very little brain) and there has been such a lot to learn (this is called “getting your excuses in early”!).

Once in Canada, of course, and having had the opportunity to experience the show ‘in the flesh’ (so to speak) I rapidly became a convert too. It was therefore deeply saddening to hear the news this week that Stuart had succumbed to the melanoma that he had been battling for more than a year.

I am way too much of a Vinyl Café neophyte to be able to indite anything remotely apposite at this point. I urge the gentle reader instead simply to ‘Google’ “Stuart McLean” and to peruse some of the many tributes to the man. This page of twitter reactions gives a good idea as to just how deeply loved he was.

For myself all I would say is that there was something about his writing and on-air manner that reminded me of how radio used to be when I was growing up in the UK, where my earliest exposure to the outside world came exclusively from the BBC’s ‘Home Service’ (later Radio 4). That’s pretty much as good as it gets in my book.

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Image from Pixabay“It’s not the size of the dog in the fight, it’s the size of the fight in the dog.”

Mark Twain

Following on from the reminiscences of my last post… and in an effort to demonstrate that these meanderings are not as purely random as they sometimes appear to be…

Back in the day I was (and still am in a somewhat desultory sense) a bass player. In common with many novice musicians I proudly acquired my first bass with no thoughts as to what to use for amplification. Later – once I had grown out of the usual home-made setup cobbled together from various bits of domestic electronica – I set about finding a bass rig that would give me the biggest bang for my bucks.

As detailed in my earlier disquisition concerning PA systems, received wisdom at the time was that an extravagantly sized loudspeaker cabinet was required to produce the desired bottom end, with the speakers themselves also being as large as possible. I ended up with an impressively chunky setup loaded with 18″ speakers.

The band in which I was playing at the time had found itself a semi-permanent rehearsal location in a ramshackle outbuilding that formed part of a nursery located in the middle of nowhere. Tucked away in the midst of a swathe of decaying greenhouses we could safely leave our equipment set up and ready to go, so that we could crack on with rehearsals with the minimum of fuss. Further – one of our number was the proud possessor of a van!

Once that band had succumbed to the habitual form of musical entropy I was obliged to downsize my bass rig. I was driving a Mini at the time (my first proper car) and the equipment had to be sized accordingly. Over the years since I have tinkered with various different setups, but when we packed all of our goods and chattels into a container to head for BC in the summer 2015 the box that I loaded was still a weighty lump.

Having payed for its conveyance to Canada I was not best pleased to discover that there was no way of easily converting it to operate on 110V! The manufacturer had gone out of business and no parts or circuit diagrams were available.

I am – as always – the luckiest of chaps, however, and she who is possessed of all wisdom agreed to help me purchase a new amplifier as my birthday present.

Well – you will be unsurprised to hear that technology has undergone its usual magical transformation in the thirty years since I last went shopping for such and it is now possible to purchase a tiny, tiny wee box that can miraculously produce more bottom end grunt than any rig I have ever owned. This thing is minute, it weighs next to nothing but is built like a tank and there can be no doubt that this little mutt could easily take on the big dogs… and probably win!

For those who demand technical details this is a Traynor (solid Canadian brand not found much outside these shores) small block SB110. The amp provides 100W and the cabinet is rear ported and loaded with a single 10″ speaker and a tweeter.

This thing is seriously loud for such a small unit and has no shortage of room-rattling bottom end.

How is that even possible?

 

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