Wiltshire, wapblogging and whaaaaaaaaaaaaa???

Well, that was a good weekend. Excellent weather, beautiful scenery, fine beer and friendly people. Despite going to Wiltshire on a regular basis (Nicola hails from Devizes, where her parents still live) there’s just so much of it I haven’t seen, and like Surrey (another chalky, rollingly hilly place) it’s often under-rated.

Which reminds me… I posted brief summaries of each day’s walking on my Live Journal. If you’re a regular reader here, you might not know about the Spaghetti Factory Mobile. Mostly, I use LJ for an easy-to-follow compilation of several blogs (via the “Friends” function) and to alert other LJ users of my posts here on the main blog. However, I also use a service called Wapblogger which allows me to post to my Live Journal from my phone, so you’ll often find content there which doesn’t end up on this site.

Catching up on my blog reading this morning, I’ve just seen (via Ben Hammersley) something truly horrible. I hate to do this to you, but I want to help you to see the full range of human experience, so grit your teeth and enjoy the Princess Diana Portrait Baby Doll.

When you’ve recovered, you can go up a level and browse the complete Princess Diana Doll series. Yes, there are so many to choose from, imbued with a level of kitsch that would make Jeff Koons gag and presented with the sort of design skills you’d expect from an eight-year-old girl’s school project. On that subject, the “You’re Not Really Trying, Are You?” award for Diana Doll ineptitude must go to Peggy Nisbet’s efforts… is that Gary Lineker?

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Things to do in the summer

As alluded to in my Live Journal, the Proms are now in full swing, and I’m partaking gleefully (Proms 8, 9 and 11, if you’re interested… more of “my sort of thing” to come in August). I’ve previously blogged about the wonders of the Proms, so I won’t do the whole free advertising spiel here; suffice to say that if you have any curiosity whatsoever for live orchestral music and can get to London for a not-too-late evening out and don’t mind standing for £4 or sitting a little way back/up for £6, you’d be crazy not to investigate.

I mentioned some bizarre security measures in my LJ entry… people in the queue outside (waiting for standing tickets) were told to go and take their bags for security checking and then to the cloakroom, before returning to the queue. Once inside the Albert Hall, you’d then be allowed to return to the cloakroom to collect your bag. Now, I can partly see the logic… they want to avoid the bottleneck effect of security searches as people enter the building en masse, but I can’t quite understand the sudden need for such dramatic security… especially as, on the evening in question, the programme was a sparsely attended selection of quite “difficult” music (including Messiaen’s truly breathtaking ‘Des Canyons aux Étoiles’). No Israeli orchestra, no visiting royalty, no more than 500 people in an 8000-capacity hall. Even more bizarrely, these security measures weren’t in evidence the following evening (when Stravinsky’s ‘Petrushka’ drew almost a full house). So, if you go to the Proms and get a full orifice search, do let me know…

Enough rambling, at least of the verbose kind… I’m off for three days of walking in Wiltshire.

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Oh, WHAT a surprise

So, Tony Blair has decided that it’s now time to end the “1960s liberal consensus”, and has the full backing, not surprisingly, of David Blunkett, who has coined the term “liberati”. Apart from the fact that they seem to be forgetting how the Tories managed to erode just about every last vestige of liberalism in this country between 1979 and 1997, this stinks of what I like to call “Baby Boomer Spite”.

Blair and Blunkett (along with many of their colleagues) are prime examples of the Baby Boomer generation. Growing up in the sixties, they saw the golden age of British social policy, enjoying top-class free healthcare, free university education and the broadening of opportunities for women and the working class. And now, like so many successful members of that generation, they have the power and inclination to stop those of us in younger generations from enjoying the same freedoms.

Of course, we all know that the great hippie peace’n'love revolution was largely the result of marketing, idealistically viewing the activities of an educated middle class minority, while the majority, in their brown suits and crinoline skirts, got on with their jobs in offices and factories. Britain simply wasn’t a land gripped by hedonistic excess and lawlessness. However, important changes did happen; changes which do not deserve to be casually dismissed as the acts of the “liberati”.

Writing in the Guardian, David Aaronovitch (a Baby Boomer himself) lists a number of injustices to which the advances in 1960s society provided much needed cures…arbitrary justice, corporal punishment, capital punishment, backstreet abortions. If 21st-century government policy can be informed by nostalgic views of what a few people may have boasted about doing 40 years ago, while forgetting the real advances, gawd help us.

As Aaronovitch remarks “you want to blame someone for the mess we’re in? Those bastards from the 80s, they’re the ones.”

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Activity

So, anyway… as I mentioned in the last entry, my solution to the creative void was to bombard myself with loads of new stuff. As far as my music listening habits are concerned, the main feature has been my attempt to gain a more thorough knowledge of music history, working chronologically from the 12th century and listening to as much as I can get my hands on (as blogged previously). But there’s more…

I’d been making a few changes to the Spaghetti Factory studio setup, mostly involving some different valves for my Cornford amp and a new pair of monitor speakers. On a whim, though, I decided to drop myself into a tricky situation by switching my recording/sequencing software from Pro Tools to Logic. Now, for non-music types, that might seem a trivial matter, and in the wider scheme of things it is… almost all recording applications involve a similar set of features and graphical interfaces. However, when you’ve used a program regularly for nearly four years, it becomes a transparent element in your music making, as you work instinctively with, and around, its peculiarities. In that sense, Logic is very different from Pro Tools.

I’m fairly frugal by nature, so just as I used the LE version of Pro Tools, I went for the Express version of Logic. It’s still quite a learning curve, though, especially as I decided to incorporate Propellerhead’s modular music application Reason into my system at the same time, adding even more manuals to read and settings to configure. But there’s still more…

I decided I wanted to learn piano.

I’ve used a keyboard regularly for programming drum, bass and other parts into a sequencer, and I know where all the notes are. But I’ve never learned to *play* the piano in an idiomatic sense… if I write a keyboard part, I’m always thinking of the notes as they’re arranged on the guitar, where I have a better feel for how sounds can be combined. So I bought a book and made a start. I’m in the fortunate position of already being able to read music and knowing how best to use practice time, having played guitar for 22 years, so it’s nice to avoid a couple of the typical beginners’ obstacles. At the moment, I’m working methodically through this one book, and I think I’m progressing reasonably well… much as I’d like to try a few blues licks or Erik Satie pieces, I realise the importance of building up a solid foundation first. Yes, even if it does involve ‘Bright Eyes’ and ‘Sailing’ ;-)

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“While we are not doing anything”

During March, April and a bit of May, I kind of lost interest in making music. I couldn’t think of any good ideas to record and it became something of a chore even to pick up a guitar once in a while. I found I wasn’t listening to music very often, because it all seemed too familiar and predictable. There was one day when I seriously wondered whether I should sell most of my gear, cutting it down to the level of “just a hobby”.

I’m still not entirely sure what caused all that, although for a few years I’ve been aware of a self-inflicted pressure to really “do something” with music. This pressure has always been accompanied by a vague, impending sense of disappointment, an assumption of failure. Maybe it’s part of some ancient evolutionary code… a need to cock my hind leg and mark the world with my musk spray.

It’s daft, really; I’m in the enviable position of earning a living through music and I get lots of free time to mess about with my own ideas, using gear that many people (including myself, ten years ago) could not afford. I’m not loaded, and I do lots of things on the cheap, but I can’t deny that I live a comfortably middle class life and have no fear of impending poverty. Maybe that’s what it is… a little bit of working class racial memory coming back and reminding me to stop being so complacent about life.

Then again, I don’t think complacency is the problem, because I’m actually quite hard on myself. I’m *very* easily disappointed with what I do, whether for work or pleasure, and I sometimes feel like a fraud if I manage to create a half-decent piece of music quickly and easily. I know that’s stupid, that perfectly good music can originate from five minutes of shambolic serendipity, but I guess I have more perfectionist genes than even I was aware of.

In the end, the solution seemed to be to force myself to be less focused, to take more of a scattergun approach and dip into a wider range of interesting projects (more details in the next entry). Another valuable lesson manifested itself among all the talk of the current G3 tour, featuring Steve Vai, Joe Satriani and (controversially for many people) Robert Fripp. I didn’t go to any of the shows, as I’ve gradually lost interest in both Vai and Satch, but the G3 buzz did remind me of how long it had been since I’d read any of Fripp’s writing. During one particular linkage frenzy, I ended up at a website containing a transcription of Eric Tamm’s biography of Fripp. One passage, in chapter 11 is just perfect…

“What do we do when we can’t do anything, have no interest in music, never want to see a guitar again, have no energy for anything at all? Well, we do nothing, but while we are not doing anything we practice for eight hours a day.”

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England f… (ill in the blank)

Well, what can you say? Any complaints from the losing side will always be construed as sour grapes, and England deserved to let their early lead slip. After Owen’s third-minute goal, and particularly after Rooney’s exit through injury, the team descended into a prolonged spell of Keystone Cops football. There was no communication, passes were random and under- or overhit, long balls were used indiscriminately without consideration for the positions of other players. What was so surprising about the Portugal equaliser was that it took another eighty minutes to arrive.

But… lacklustre performances don’t necessarily lose matches, as Germany proved in the 2002 World Cup, only really kicking into gear in the semi-final and ending as runners-up to Brazil. The England-Portugal match pivoted on some truly dreadful refereeing. Now, this is something that those of us who support lower-division teams have come to accept as an unpleasant but unavoidable reality, but in the quarter-final of a major international tournament, we should be seeing the very best. Specifically, we should be seeing referees who are not so easily swayed by the pressure of home-team support. It happened to Spain, who were denied one, possibly two legitimate goals against home team South Korea in the 2002 World Cup.

Back to this evening’s match, Swiss referee Urs Meier had made some fairly inexplicable decisions throughout the match, but the pivotal moment came when he disallowed Sol Campbell’s goal in the final minute. Every time I see that replay, I see a sturdy (but not illegal) challenge on goal from John Terry and Sol Campbell. If there is a foul, it’s by Campbell climbing on his own teammate! What’s worse is that Meier decided to make a snap decision despite having only a distant view of the incident. As it turned out, there was little to separate the teams in extra time (each scoring one more goal) and Portugal won the match fairly on penalties. That’s not the point, though… a misinformed decision affected the result.

The solution? I don’t know. I doubt that Pierluigi Collina would have been so lazily biased, but he’s just one (exceptional) referee. To give all referees the benefit of the doubt, the speed of the modern game has made it very difficult for one man (with two off-pitch assistants) to arbitrate effectively. However, there seems to be a general reluctance to accept this, and pursue bold, creative solutions. The subject of full-time, professional referees is rarely, if ever, broached. Digital video technology would facilitate instant replay and analysis, but is not used. When the cream of Europe’s referees can so easily be pressurised by home support into rash decisions, though, something must be done.

As for the competition, I now turn to Holland (my default “second team” since the 1978 World Cup, the first international competition I ever saw on TV) although I’d love to see the Czech Republic do well…

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Sharp Suit

Gorblimey, it seems like ages since I did this. After a two-month period of complete creative blockage followed by some studio setup adjustments (and learning curves with new software) I’m finally back in recording mode.

The last-but-one task over in the Guitarist Collective was to record a piece of music inspired by a film. It took me a while to decide on an angle, but eventually I decided to celebrate those cool mid-sixties British films, particularly the ones which showed some of the dark side beneath the Swingin’ England veneer. Although the point of the collective task wasn’t to recreate the sound of the original soundtracks, I found I just couldn’t help but use some of the musical devices they used back then. I think a bit of David Axelrod influence crept in there as well.

The resulting piece is called Sharp Suit (5.2MB mp3)

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Rooney, ITV and Scandinavian rivalry

So, Croatia. Their squad might not be packed with talent as it was in the late 90s (Suker, Boban, Prosinecki, Boksic) but they’re still effective, as shown in the 2-2 draw with France. With that in mind, it was nice to see a much more controlled England performance on Monday evening. Well, okay… up to a point. Where dodgy substitute selection was our undoing in the first match and clumsy over-zealousness made the Switzerland game unnecessarily laboured, the Croatia match provided a new insight… we hate set pieces, especially when balls are played across the face of goal. We’ve let in four goals in this tournament so far… one penalty and three free kicks.

Still, as a pundit or two will probably say before the end of the week, it’s not the goals you let in, but the goals you score which count. Putting aside that habitual English self-deprecation for a moment, we looked damn good in attack. The “next Pele” tabloid drivel is overstating things somewhat, but Wayne Rooney is on superb form, and some of the passing moves against Croatia were quite stunning.

On a slightly sadder note, that was the last first-round match shown on the BBC. I’m not particularly interested in pundits or commentators, so any TV coverage is fine by me, but the banality of some of the ITV commentary has really grated at times. Their regular updates on “how the table will be if the current scores remain the same” are boring and pointless, and there have been several instances of lazy reporting (“Greece are through… [later]… Greece are *probably* through”).

[EDIT... I originally took issue with the "Italy cannot progress if Denmark and Sweden draw with two or more goals apiece" theory. Under standard rules, that would be true... Italy drew with Denmark (the first criterion) and so would need to beat Bulgaria by a three-goal margin (or a two-goal margin, providing they scored at least one more goal than Denmark).

However, it seems the goal difference and goals scored criteria only apply for the matches *between* the tying teams. None of the goals against Bulgaria counted. Bizarre, but it is UEFA after all... I wonder when we'll see the "Silver Goal" used for the first time...]

The daftest thing has been the claim of match rigging from the Italy camp. Aside from the fact that a team of Italy’s quality shouldn’t have got themselves into such a mess in the first place, didn’t it occur to them that two neighbouring nations might just have the *slightest* urge to beat each other? I mean, think about it… England and Scotland engineering a mutually beneficial draw? Holland and Germany? Brazil and Argentina?

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Yetisport for all

As blogged just about everywhere this week, the fifth instalment of Chris Hilgert’s lovably daft Yetisports game series is now out. Beat my 3377 3908, why dontcha?

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Euro 2004 comes to life!

The matches in Euro 2004 have so far been a mixed bag, ranging from the torporific (Switzerland-Croatia, most of Denmark-Bulgaria) to the dazzling and compelling (Italy-Sweden). For us England fans, things are looking brighter than they were this time last week; the 3-0 win over Switzerland was comfortable, if somewhat lacking in technical brilliance.

For a few days, though, everything will probably seem drab in comparison with one match in particular. Group D was always going to be interesting, with past winners Holland, Germany and the Czech Republic queuing up to gain some easy points from little Latvia. However, with Latvia showing surprising pluck and discipline, and Germany plummeting into that same slough of despond which brought their Euro 2000 campaign to a premature end, the Group of Death was not going according to popular speculation.

So when Holland went 2-0 up against the Czech Republic after only 19 minutes, the tale of Group D took another twist, and it began to look as though one of the tournament favourites might not progress to the quarter finals. Holland’s constant attacking was fast and highly focused, but the Czechs responded in kind, scoring almost immediately. From that moment, the match never slowed down; the half-time break only seemed like a brief pause for breath amid the barrage of attacks and counter-attacks. By the time the Czechs equalised, the two teams had done more for football PR in 71 minutes than FIFA have done in… well, ever.

From a neutral perspective, that 2-2 scoreline would have been the fairest outcome, but the Czechs had the necessary extra stamina and creativity in reserve. They certainly gained an advantage through Johnny Heitinga’s unjustified sending off (the niggly refereeing was the only poor aspect of the match) but their turnaround, capped by Smicer’s winning goal, seemed inevitable even before that.

As someone said on a web forum just now, how are they going to compile highlights from that? They should release the whole thing on DVD.

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