BOOK REViEW: Britain Begins, Barry Cunliffe

‘The islanders have always been a mongrel race and we are the stronger for it.’

BritainBegins_Cunliffe

5stars

NB: I originally wrote this review around 2012, when I was sent the book to review as part of the Amazon Vine program. But, in the light of Brexit, I wanted to re-post the review here on my blog.

Wow! This book is a fascinating and exciting compendium of diverse facts, beautifully illustrated, telling the most incredible story.

Cunliffe writes with great clarity and engaging straightforwardness, weaving together various strands of scientific deduction sufficient to put Sherlock in the shade. What science there is here is, on the whole, easy enough to follow. Certainly this isn’t too drily technical a read. Indeed, throughout the book we often touch upon moments connecting us with our forebears, a very early and poignant instance of this being the discovery of Mesolithic footprints in the littoral muds of Formby point.

Covering 11,000 years, from the retreat of the ice around 10,000 BC (when these lands were still connected to the European continent), to the arrival of the Normans in 1066, Cunliffe tells how the people of these islands grew from bands of a few hundred hunter-gatherers to a mixed population of around two million. Before embarking on this epic tale he sets out what we used to tell ourselves was our history, from the first mentions of these lands in ancient Greek and Roman texts, through to indigenous writers like Geoffrey of Monmouth, examining how myth and fact interwove, before beginning on the journey to the more complex and nuanced understanding we have now.

More than half of the book is given over to the period prior to these islands entering into the written record, which Cunliffe describes as formerly belonging to ‘shadowy pseudo-history’. It’s quite moving reading Geoffrey of Monmouth, who belongs to this earlier semi-mythical phase, saying ‘Britain, the best of islands… provides in unfailing plenty everything that is suited to the use of human beings’, and then having Cunliffe, the modern post-enlightenment scholar concur, stating that indeed, ‘The British Isles … occupy a very favoured position in the world’, and explaining why this is so (geology & climate).

Barry Cunliffe
Barry Cunliffe

At around 500 pages, with a very substantial ‘further reading’ section at the back, this is a serious book. But despite the books size, as Cunliffe concedes, his scope is so huge that it remains a very general and brisk overview of a huge subject. Chapters often conclude with summarising statements, which is helpful, and there are three ‘interlude’ chapters, dealing with such topics as language and religion. As he says in his preface, ‘An archaeologist writing of the past must be constantly aware that the past is, in truth, unknowable. The best we can do is to offer approximations based on the fragments of hard evidence that we have to hand, ever conscious that we are interpreters. Like the myth-makers of the distant past, we are creating stories about our origins and our ancestors conditioned by the world in which we live’.

Unsurprisingly the nearest lands have been those to most consistently stock our genetic banks, with arrivals coming from land masses we now know as Spain, France, the Low Countries, Germany and Scandinavia, and in the Roman period an even wider ranging area. The first 9,000 years of this story are couched more in terms of generalities and theories, drawing primarily on the longer standing practice of antiquarianism, or what evolved into archaeology as we now know it, but also other associated areas, some of which, like our growing knowledge of genetics, are much more modern developments. The parts dealing with the last millennia become more like the kind of history many of us will know from school or general reading, with tales of kings and queens, war and invasion.

The ‘innate mobility of humankind … inherent in our genetic makeup’ is a continuing theme throughout, existing in constant tension with the domesticating aspect of human culture, as waves of invaders and colonists seek first to find new territories and then to live in them. Throughout this continual ebb and flow human and material traffic continues, leaving behind trails of artefacts and monuments, from grand buildings to everyday waste. Rather like the amazing detective work of Darwin, this is a tale concerned with origins, and it’s amazing what we can deduce from a close examination of the world around us, and how much that world can still tell us of our past.

As a generally interested reader of history I found this an extraordinary, fascinating, and very compelling read, fabulously supplemented by a rich array of graphic material. Loved it!

MiSC: iPhone Idiocy…

Trump-trumping
Trump lets one off…
 
I’m awful an eedjut!!!
 
Major panic this morning, as I declare my new(-ish) iPhone lost.
 
A week or two back I got an iPhone 6S off a local FB seller, with a broken screen and very, very cheap – already up there in the idiot stakes. I then poured more money into fixing it: new screen and new touch sensor dingus, installed by local techy/phone place.
 
The iPhone finally worked, looked fine, and was still, all in, considerably cheaper than via other means.
 
Then last night I dashed out, about 7.30-8 ‘ish, to buy another FB local seller cheapie item. And this morning, when we couldn’t find my iPhone, I assumed it’d fallen out whilst collecting the latter.
 
Much stress, searching and driving around later, I remember that I completed Teresa and my census on it, about 11pm last night, and fell asleep listening to From The Oast House, by my hero and role model, Alan Gordon Parsnip.
The one place Teresa and I didn’t tear apart prior to the pre-work taxi-run was right beside the bed.
 
BTW, the accompanying pic of Trump, apparently doing a particularly eggy ‘trump’, seemed suitably idiotic to express my delusional ineptitude…

HOME/DiY: Jazz Greenhouse, So Far…

[pics]

Nearing mid-March, ‘21, and I’m taking a(nother) break from the greenhouse build.

All that’s left now is the roof. That’s a pretty major final step. I’m hoping I’ll get at least the timber framing aspect of this done in the Easter break, which is about a fortnight away.

In the meantime, focus has shifted to a new shed, which I’ll post about separately.

HOME/DiY: Shed #3.

Shed#3

After a prolonged period of virtual inactivity, a near enough winter hibernation, we’re getting back out in the garden.

As mentioned in a previous post, work on the jazz greenhouse is on hold again. An urgent need, both in house and garden is more and better storage space. We’re getting accustomed to living amidst levels of clutter I find discombobulating!

Doing anything at all in shed #1, which is the shed we inherited from Clive, who we bought the house from, is nigh on impossible. The clutter/mess is Biblical, and there’s simply neither enough nor the right kinds of storage to remedy the problem.

I built shed #2, which I call ‘the sentry box’, on account of its size and shape, for garden stuff: lawn mower, gardening tools, etc. That too is full to overflowing.

Shed #3 also needs to have a small footprint, as we need veg’ growing space, and we plan to build both an art studio and a ‘Hobbit hole’ guest accommodation further down our long narrow garden.

Shed#3_flagstone-base
The flagstone base.

The base is 12 paving stones I got from our neighbour at no. 66, Ben, arranged 3×4. 45cm-square, these give a base approx six foot long by 4 foot wide.

I dug over and raked the soil flat, removing a certain amount of weeds and rubble, before compacting and smoothing. The slabs had ‘dot and dab’ patterns in concrete, like the #5 on a dice, on their undersides. Removing these was hard and painful work, but ultimately worth it.

I’m happy with the resulting ‘foundation’ slab.

I’ve tried to spend as little as poss on materials. Ideally it would be entirely built with free/reclaimed stuff. But in the end I’ve had to buy certain bits, such as some of the framing and cladding timber, and some paint to protect the OSB3 against rain, etc.

Front panel framing
Front panel framing.

The most recent bout of work has been the framing of the front and rear panels. The front will have windows, and the rear needs fully assembling and painting before being secured in situ. Once in place it’ll be too close to our neighbours fence to be accessible to work on.

Over Friday and yesterday, Saturday, I both attached the OSB cladding to the rear framing, creating the back panel, and painted the first undercoat. Very satisfying! Today I’m hoping we’ll paint a second undercoat, and then one, poss’ even two top coats.

It’d be great if we could get the back wall up and secured, which entails attaching it to both some form of anchors and the framing of the sides/front. This would, in turn, facilitate further framing of the side walls, inc. adding a door.

Rear panel
Cladding the taller rear frame with OSB3.

Rear panel
Rear panel (on its side), painting.

Exactly what will wind up in this storage shed is moot. But the old Freecycle kiln is definitely going in, along with, we hope, our two (as yet unused) bikes, the butler sink (destined for our kitchen rebuild), the garden gates/posts (for the front garden/driveway), and, I very much hope, the detachable  MX5 hard-top.

Also shifting all the electronics and speaker related stuff I got from dad, and as much sundry timber as we can manage to squeeze in, would all help free up workshop space in shed #1.


Since I first drafted and published this post, I’ve got the rear panel in position, thanks to help from our neighbour, Ken Cole. Thanks buddy!  That allowed me to attach the front and rear panel with batons at the bottom, and temporary struts at the top and elsewhere.

Some more cross beams have been added, to the front panel, at a level suitable for window-framing, should I go that route. And yesterday and today – 17th-18th March – I clad the right hand end in shiplap, and put the door in position, hinges and all.

I’m really happy with how this is coming along!

The roofing and other walls, and finishing clad the wall over the door, all remain to be done. And then comes time to shift a load of stuff inside, such as our as yet unused kiln (another restoration project!).

MEDiA : The Art of Small Films

ArtOfSmallFilms_Cover

Oh, frabjous day!

Yesterday a ‘we missed you’ type card plopped through our letterbox. Despite my being in, and there being a note taped to our front door with my number on it.

Queuing in the drizzle outside the Tesco Metro today wasn’t prepping me for elation, either. Initial anger at the postie not calling yesterday, and me therefore not getting the package, gave way to delight today, when I eventually picked up the mystery item.

Perhaps the delays and inclement weather made the ultimate unwrapping that bit more joyful?

Anyway, a while back I posted the tiniest of posts, here on my blog (it’s actually the previous post, just five days back!), and poss’ also on FB, simply saying that I didst covet the Johnny Trunk/Four Corners book, The Art of Small Films.

Imagine then, if you will, my delight at opening the large card box this came in, to discover that that very book was now in my hands. And with it a cute enamelled Four Corners badge, and a bookmark.

The book itself is a medium/large square-ish art-book style hardback. The textual content is minimal and light: after opening encomiums from Stewart Lee and Sr Trunk, much of the remainder is quotes from Firmin or Postgate, with very small editorial interjections to add context or continuity.

Whilst the stories of Small films and its two chief dynamoes are fascinating in and of themselves, the real attractions here are the images, which capture both the creative processes, the end results of same, and much, much more. Somewhere in the hinterlands of memory and imagination, in the spaces between the text and imagery, the chief appeal is the enchanting whimsy of it all.

Perhaps ironically, that will o’ the wisp like elusive quality, that Postgate and Firmin distilled so well and so often, is built on an endearingly Heath Robinson meets the Wombles practicality: wool, old Meccano, junk and odds and ends, some precious, some throw-away, all combine, with vivid free-flying imagination and grounded practical artistic talent, to create enchanting worlds a great many of will remember with great fondness.

As Lee and Trunk note, gone are the days and the ways that saw this sort of stuff wind up on our TVs. And the world’s the poorer for that. But it’s the richer for their work, and this very handsome celebration of their art.

It took about an hour to read the entire text. But there’s a lifetimes’ worth of fecund imaginings and their shoestring realisation in here. The beautiful images – and interestingly rural England figures more than one might’ve expected – are to be dipped into repeatedly. Whether that be for pure nostalgic indulgence, or in search of inspiration… Treat yourself, lose yourself in the worlds that Small Films created.

MUSiC : Edison Machado – É Samba Novo

Edison Machado

Three & a half stars

I love Brazilian samba, bossa, jazz, and all sorts of the offspring of such styles, since the 1950-60s, when the rhythms of Brazil and post WWII north-American jazz began to blend. Some of the resulting music is amongst the best the world has enjoyed, in my view.

Edison Machado is credited, on Wikipedia, as being a founding father of jazz samba/bossa syle beats – ‘Through his creation of the samba no prato (samba on the cymbals) and his early recordings, he helped shape Brazilian samba and bossa nova’. As a fan and student of such music, I thought I ought to get some of his recordings. I already have some stuff he did as a sideman, such as The Composer of Desafinado Plays, by Jobim.

Just as that’s not my favourite Jobim album, nor very remarkable for the drumming, I find this album somewhat disappointing. He may well have been an innovator, but this sounds like loads of other similar samba jazz of the era. So if, as I have done, you come to this after hearing tons of other similar stuff, it’s not that exciing or original sounding.

Nevertheless, as an album done under Machado’s own name and leadership, the drums are much more prominent and active than on some of his dates as a sideman. And I’m sure as I listen to it more, and attempt to play along, etc, I’ll most likely come to like it more, and certainly to respect Machado’s drumming skills: Brazilian jazz, with it’s samba based beats, is not for the faint-hearted, drumming wise!

The music is mostly mid and uptempo, the tracks quite short, and sounding almost like a big band: lots of brass/horns, etc, and quite heavily arranged. None of the track titles jump out as familiar classics. I think four stars is rather generous, whilst just three is rather mean. Here on my blog I give it three and a half. Whereas on Amazon’s website it’s whole stars only, so I erred towards the more critical, and scored it just three there.

Far from essential but possibly worth having if you’re really into Brazilian samba jazz, etc, or you’re studying Brazilian drum rhythms, as I continue to do.

MiSC: These Crazy Times

Steve Bell, Keeves & Bojo. (© Steve Bell)

I love England, and I love being British.

Of course nowadays I can’t say something like that without needing to explain that I’m not a jingoistic nut.

I haven’t travelled that much, compared with a lot of folk I know. But nevertheless, I became most acutely aware of both of these facts -I love England, and I love being British – when I was abroad, whether I was in Canada, or the various parts of Europe to which I’ve had the pleasure and good fortune to go.

I love the places I visited, and, for the most (just as here at ‘home’) the people and their cultures, etc. Given that I’m writing this during Covid restrictions, I can’t wait to have the freedom to travel more widely again.

And to reiterate… my love of home, which became so much more apparent when I wasn’t there, was never even remotely jingoistic. It was and still is really just about simple familiarity, for the most part; recognising my rootedness in where I came from.

Thinks he’s the Superman of Capitalism, when in fact… (© Steve Bell)

I mention this as a preface to saying how appalled I am by the current public face of Britain. Or Toryland, as I now frequently call it. Bojo, aided and abetted by his circus of appalling crony clowns, is convinced he’s the caped crusader of Capitalism. That’s not me indulging in satire, he’s actually said as much, in front of cameras!

Brexit, his terrible mishandling of Covid, and now this Yemen stuff. Friends were posting about this latter issue on FB when I drafted this. And indeed it’s the latter that prompted me to make this post. A Tory MP, talking in Parliament, has the brass to say Britain cares about the crisis unfolding there, having just approved a massive arms deal to Saudi, the aggressor, whilst simultaneously halving our aid to the Yemen!

By their works ye shall know them, eh? Not in Toryland. There it’s by their words ye shall give them the benefit of the doubt (tugs forelock). Tory confidence in their propaganda disinformation system is truly Goebbels-esque! They couldnt gove a sh*t that ‘the chattering classes’ might know what they’re up to. As long as the hoi polloi buy the the lines peddled in the Mail/Sun, etc, they’ll continue get away with murder. Literally.

SteveBell_BojoTurpin
Bojo Turnip, gentleman bandit. (© Steve Bell)

Tory hypocrisy is so totally out of control. It beggars, or rather, I prefer to say it buggers, belief. (Remember all those peers creaming their loons over that word some years back?) It makes a mockery of the adage that actions speak louder than words. Apparently not if you have enough of the media working as your unofficial propaganda dept  

And all this nakedly contemptuous piracy flows, like stinking pus, from the same septic poisonous ‘philosophy’. Unfettered Capitalist greed trumps (how horribly apt) every other value. It’s truly and deeply sickening.

And with enough of the UK population seemingly in the grip of media dominated by right wing tycoons, will the ‘decent ordinary folk’ of Britain ever wake up? Indeed, to what extent do they even exist any more?

Bojo’s bequest to the nation. (© Steve Bell)

Have they really been replaced by xenophobic brainwashed little Englanders? So dumb they’ll give away their own rights to piratical freebooters? The proverbial turkeys voting for Christmas. Willing to throw everything that was once good about the UK on to the pyre of deregulation that the right is relentlessly stoking? And all for the benefit a tiny super-rich clique?

The whole procurement thing that’s been going on around Covid, for example, with huge sums given to cronies with no due process, reveals this to be as far from ‘trickle down’ capitalism as you can get. It’s ‘tidal waves up’ capitalism, in which massive amounts of public money gushes from the many to the few.

Laurel & Bojo. (© Steve Bell)

And all of this at what cost? What further austerity and butchery of the Commons are we to look forward to, in the wake of nosediving off a cliff with Brexit, and completely fucking up our collective response to Covid?

Where will we wind up? These are crazy times, and the immediate prospect doesn’t look too good.

SteveBell_TrumpBojoNHS
The Orange Buffon may be gone, but the Tories’ and his rapine plans live on. (© Steve Bell)

MUSiC/CD Review: Nucleus & Ian Carr, The Torrid Zone, 1970-75

Ian Carr & Nucleus - The Torrid Zone

Five stars

A mate of mine has had most of these albums on vinyl for years, and I recall listening to them many, many moons ago. It’s not that I didn’t like them then. But sometimes you only really get into something when the time is right for you. I think I needed a set like this to arrive, so I could easily get into Ian Carr and his Nucleus band.

The boxed set is a nice clamshell affair, with five CDs in card covers that cover nine albums. There are some very detailed and knowledgeable reviews of this set elsewhere on’t interweb (I’ll link to the best one when I get a round tuit).

So I’ll confine myself to a more personal response, here. Ian carr was – as is very obvious when you hear this music – a major Miles Davis fan. And in this music he takes ‘late’ electric Miles as a starting point.

Miles himself did relatively little in this vein, in the context of his entire and very prolific career, before semi-retiring. And some of this stuff, whilst interesting, isn’t the easiest to appreciate, especially where it crosses – mostly thanks to his musical cohorts – into ‘free jazz’ type territory.

Ian Carr and Nucleus take the Miles type influences, along with many others of the times, and combine them in such a way that it’s both very similar, and the influence is very obvious, and yet the music itself is actually more focussed and, in all honesty, palatable.

Nor is it so derivative as to be redundant. Indeed, it’s basically someone taking up the musical torch and carrying it on and into further territory. So I don’t really want to (but probably already have!) overstate the whole Miles thing.

What this is, is great early ’70s fusion, blending jazz, funk, rock, even a bit of folk and prog, into a heady blend, both typical of its time, and yet pretty unique in its exact flavour combinations.

An excellent set, filled with great music. If you like music that goes its own way, and at the same time celebrates and venerates its inspirations, and you love the sounds of this period, as I do, this is an essential listen.