Friday, July 29, 2005

Dealing with the X factor

Dealing with the X factor
July 30, 2005

http://www.theage.com.au/news/books/dealing-with-the-x-factor/2005/07/29/1122144004015.html

Douglas Coupland is still haunted by the extraordinary impact of his first book. Before his visit to Melbourne, he speaks to Ben Naparstek.

Douglas Coupland recently chewed up several of his novels with his molars. He then sculpted hornets' nests from the mush. For the Vancouver writer and visual artist, who feels closer to art society than the literati, the exercise made for an intellectually satisfying meal.

"For years I've been thinking, 'What is a book materially? When does the book stop being a book and become a sculpture? Or is a book a sculpture in itself?', " says the writer credited with introducing the term generation X into the popular lexicon with his 1991 novel of the same name.

Coupland fell into writing almost by accident, while living in Hawaii after graduating from art school. A magazine editor in Vancouver, amused by one of Coupland's postcards, asked him to write an article.

At first, journalism was merely a side gig to shore up his income as an artist. Then he began writing a regular comic strip, Generation X, for a corporate magazine. It attracted the attention of a New York publisher, who commissioned Coupland to write a lifestyle handbook for his age cohort.

Coupland produced a novel instead but the title, illustrations and vernacular glossary planned for the original non-fiction book remained. Published when Coupland was 29, Generation X portrays three disaffected 20-something "slackers" who withdraw to a desert bungalow in California. They shun the society controlled by rich baby boomers, hogging the spoils while consigning their offspring to low-paying "McJobs".

Coupland claimed, however innocently, that he only wanted to tell a story. Despite his protests that generation X referred to a particular mind-state rather than his generation, the book was hijacked by social anthropologists and advertising agencies, casting Coupland as the ring bearer of the prematurely jaded generation.

As Coupland reached rock star status, the inevitable false rumours started circulating; he was said to live in Scotland, store letters in a vault and collect meteorites. Thirteen books on, it's understandable that he should bridle at being asked about the X phenomenon. "Good God! It's 2005."

Yet, despite his attempts to distance himself from the spokesman-for-a-generation mantle, his novels continued to tap into the anxieties of post-baby boomers, while remaining pocked with up-to-the-minute schlock-culture references.

Coupland suffered a critical backlash with his next books, Shampoo Planet and Life after God, where he was seen as failing to move beyond the cool phrase-making, lists and aphorisms of his debut. "My 15 minutes of fame ended somewhere around 1993."

His image was rehabilitated with his 1995 novel Microserfs, a satire of computer programming apparatchiks that The New Statesman called "the first great work of cyber-realism".

Coupland's latest novel Eleanor Rigby is possibly his most autobiographical work. It is narrated by Liz Dunn, an overweight 42-year-old cubicle worker, who sleepwalks through life with no passions or aspirations, and lives alone without friends, lovers or pets.

The novel stems from the loneliness that dogged Coupland throughout his 20s. He thought he needed to swallow more Prozac. Only in retrospect did he identify his malaise as loneliness - an affliction without a drug cure. Coupland thinks that the Canadian high school curriculum should introduce a new subject: Loneliness 101.

"If they told us in school that there was this weird thing you were going to experience the moment you turn 20, that would have been a great service. It might be just a North American thing but you always have to smile for the camera and give it your best. Negative emotions, or inevitable emotions, never get discussed."

Coupland believes that most protagonists automatically become synonymous with the latest Hollywood pin-up in the reader's imagination. With the obese Liz, Coupland forecloses that possibility.

"We really do have these generic, interchangeable hero and heroine characters in our head. You have to work really, really hard to combat the tendency to default back to that generic narrator."

It occurred to Coupland, while working on Eleanor Rigby, that he was writing to his younger self.
"I used to operate under the belief that everyone has as good a chance as anyone else. Now, at a ridiculously late age, I realise that looks, family and education wildly skew people's lives. I figured out how and why the world works quite late in the game. I wish I hadn't been as clueless as I was."

As with his previous novel Hey Nostradamus!, there's an ambiguous religious undertow to Eleanor Rigby. Hey Nostradamus! was partly narrated by the ghost of a victim of a Columbine-style school shooting, whose body is found next to a binder on which she has scrawled: "God is nowhere/God is now here."

In Eleanor Rigby, the heroine's long-estranged, now terminally ill son, re-enters her life as a Christ-like figure to nudge her towards redemption. While he has apocalyptic visions of items dropping from the sky, there's never any question that they're illness-related hallucinations.
So is Coupland religious? "That's one of those questions where if you answer in the affirmative it means you're not. I like to think of myself as being religious, but it's something you really have to work at, or else you stop being it very quickly."

Coupland's trademark offhand prose, sitcom-like repartee and outlandish chance events remain in force in his last two books. Yet there's also a compassionate, moralistic voice that was absent from his earlier, surface-obsessed works. He shrugs off the suggestion that he has been gradually reaching for more spiritual themes, promising that his forthcoming novel, jPod, will turn that idea on its head. "I wanted to do something which is flat-out funny, that has no other scheme in mind."

Still, he struggles to recognise himself in the younger writer who said: "Writing that sets out to prove something isn't really writing - it's a kind of lobbying."

Coupland credits art, rather than literature, with influencing his style. "I approach the creation of words from a visual standpoint. The way I look at the literary world is that there's no modern art there.

"Quality is based on how well you draw a feather, as opposed to generating new forms. In the art world, popular culture, high culture, middlebrow culture, no culture - nature, science and mathematics - morphed together in the '60s. Thinking about where you can get ideas, and how you can use them, is the opposite of rigid."

He's an unapologetic connoisseur of plastic surgery makeover faux-reality television programs, joking that if Extreme Makeover and The Swan were submitted as art films to the Venice Biennale two decades ago, they would have won the Prix d'Or.

For his first five books, Coupland carried around notebooks, recording detailed observations that formed the basis of his novels. "I was putting myself through my own personal journalism school." This might account for why reviews of his early books sometimes characterised him as a jumped-up journalist, more interested in fad-spotting than character or plot. Eventually he realised that newspaper and magazine editors were mostly excerpting passages from novels
that he wrote spontaneously rather than from notes. He hasn't used notes since.

Coupland only recently started working with an editor. When he switched publishers for his 2000 novel Miss Wyoming, his new editor issued him a 15-page memorandum, criticising the manuscript for mawkishness. She even likened it to Patch Adams.

"When I read the old books, I think, 'For god's sake, why didn't anyone ever edit you?' If I was lucky, they got spellchecked. I'm not some sort of freakish exception. Editing has become about acquisition rather than editing."

Coupland rarely tours, but is looking forward to visiting Melbourne for the Writers' Festival because, he says, "everyone tells me it's almost identical to Vancouver". Coupland signs off his emails: "Cheers from the Other Melbourne." He did his last major publicity jaunt in 1995 - a three-month trip through Europe that triggered a severe breakdown. On return to Vancouver, he suffered what felt like an epileptic seizure. "I felt my DNA disintegrating. It was terrifying."

He spent the following year in what he likens to a waking coma, too crippled by depression and agoraphobia to write or leave his house. "There's only so much travel I can do before I become a madman, but I didn't know that then. Now I say no to practically everything."

Coupland is still stalked by the ghost of the washout he once feared he might become. "When you went to art school in Vancouver - the middle of nowhere back then - you made certain assumptions about the way your life was possibly going to go. If I'd ended up in a methadone clinic, I wouldn't have been surprised. I'm always aware of the spectre of what might have been."

Douglas Coupland will be a guest at next month's Age Melbourne Writers' Festival. Eleanor Rigby is published by HarperCollins.

Sunday, July 24, 2005

Gonzo, not forgotten

Gonzo, not forgotten

http://www.theage.com.au/news/books/gonzo-not-forgotten/2005/07/23/1121539189130.html

Rich Tosches
Aspen, Colorado

July 24, 2005

Hunter S. Thompson

Hunter S. Thompson's memorial service will be as unusual and dramatic as the writer's life.
In just a few weeks a cannon will roar a few kilometres down the road from this Mecca of Mink, a cannon that sits atop a bizarre 47-metre metal sculpture of a fist. The big gun will launch half of the ashes of Hunter S. Thompson hundreds of metres into the air above his rustic Woody Creek home.

Thompson's wife and his only child will keep the other half of the author's ashes. They sent the rest to a Hollywood explosives expert who packed them into a mortar shell, above a layer of gunpowder.

His memorial service, like his life, will be very loud.

And if the weather charts hold true, the wind will blow from the west or north-west as usual and carry the whacky journalist from his backyard into the majestic White River National Forest to spend eternity in peace and harmony.

In the short term, until there's a good cleansing rain, he might spend some time in the thick hair of a bewildered elk that might still smell the scotch in Thompson's ashes.

Thompson, whom the BBC called "an unflinching and acerbic chronicler of US counterculture", was riddled with disease and confined to a wheelchair when he shot himself in the head at his home on February 20. He was 67.

The cannon-blast of his ashes through his trademark gonzo fist will mark the six-month anniversary of his death. It will be part of a private service because his widow, Anita, does not want it to be like a circus. This means, presumably, that when he is blasted from the cannon, there won't be a net.

Thompson became famous with Fear and Loathing in Las Vegas, a 1972 work that the New York Times Book Review called "the best book on the dope decade".

Here is what Thompson wrote in that book — just on the first page — about a trip with a lawyer friend from Los Angeles to Nevada: "The trunk of the car looked like a mobile police narcotics lab. We had two bags of grass, 75 pellets of mescaline, five sheets of high-powered blotter acid, a salt shaker half-full of cocaine and a whole galaxy of multi-coloured uppers, downers, screamers, laughers … and also a quart of tequila, a quart of rum, a case of Budweiser, a pint of raw ether and two dozen amyls. The only thing that really worried me was the ether. There is nothing in the world more helpless and irresponsible and depraved than a man in the depths of an ether binge."

He wrote 14 similar books. The Curse of Lono in 1983 and Songs of the Doomed in 1990 still have legions of followers, mostly in the waiting rooms of methadone clinics.

Then he killed himself and now they're going to fire the brilliant, funny, politically incorrect scribe's ashes out of a cannon in his backyard, three kilometres from the Woody Creek Tavern where he often sat, his right hand seemingly glued to a glass of Chivas Regal.

Among those invited to Thompson's last blast is Bob Braudis, sheriff of Pitkin County.
Sitting in his office in Aspen, Braudis talked about the man who was, for 35 years, his best friend.

"It will start, I think, as a solemn memorial service and funeral, and eventually become a celebration of Hunter's life," said Braudis, 60, a big man with really bad knees from too many years of attack skiing.

He came to Aspen from Boston in the mid-1960s, a ski bum reporting to duty, and met Thompson in 1970 in a local bar. They shook hands. The next thing Braudis knew, he was drunk, and the two men became inseparable.

In a few weeks, he will stand in the same yard where, for more than three decades, the two friends drank, talked and laughed.

"I think of Hunter as a clown and a jester, and a polo star and a man with a good conscience," Braudis said.

"When he talked about the cannon and his ashes he was serious with a smirk. But Hunter was always serious with a smirk."

And when the cannon goes off, Hunter S. Thompson will vanish on the wind into the national forest.

The wind could gust from the south-east towards the neighbouring town of Basalt and its many open-air-patio restaurants, which makes for the reasonable chance that a tourist could get an extra topping on their pizza.

- Denver Post

What'sa matter you, hey?

What'sa matter you, hey?

http://theage.com.au/news/music/whats-a-matter-you-hey/2005/07/23/1121539192279.html

By Clay Lucas
July 24, 2005


This month marks 25 years since North Carlton musician Joe Dolce recorded Shaddap You Face. Was it just a catchy song or a serious contribution to multicultural Australia?

What'sa matta you, hey!
Gotta no respect, whatta you think you do,
Why you looka so sad?
It's-a not so bad, it's-a nice-a place,
Ah, shaddap you face!

Since May, European mobile phone company Connex has been blanketing Romanian television and radio with ads for its slick new 3G mobile service.

And what catchy little jingle has the phone company employed to flog its wares? For reasons perhaps best understood by Romanian marketers, it is using Joe Dolce's Shaddap You Face, the 1980 megahit that sold 4 million copies and topped the charts in Australia, the UK and 11 other countries.

It remains Australia's highest selling single.

Many Australians would recall Dolce's song as even more teeth-grindingly irritating than the tune it replaced as Australia's best selling single — singer and ad man Mike Brady's Up There Cazaly.

But is there more to Shaddap You Face than an annoying pop ditty that only served to egg on Dolce, three years later, to record You Toucha My Car I Breaka You Face?

Shirley Strachan, the late Skyhooks front man, didn't think so when in 1981 he told Dolce he pitied him because his only hit was a novelty song.

"It wasn't a hit. It was a phenomenon," Dolce remembers telling Strachan. "Better to have one phenomenon than 10 piddly little hits."

When Dolce's song came out in 1980, it was an instant singalong classic. But at least one music critic thought it was the phenomenon Dolce had described.

"Shaddap You Face summed up the change in Australia when multiculturalism displaced the derogatory label 'New Australian', when colourful Immigration Minister Al Grassby regularly graced the national stage, and SBS was about to take to the air," music journalist Craig Mathieson wrote in a 2001 attack on the Australian Performing Rights Association. The association's list of the 10 best Australian songs of the past 75 years did not include Dolce's. And as cheesy as Shaddap You Face was, Mathieson argued in an opinion piece for The Age, it was too important to Australian pop history to leave out.

"It's not a perverse critical gambit to suggest including (in that list) what your memory probably places as a novelty song of the late 1970s," wrote Mathieson. "It caught a social current, and gave voice to it in about three minutes."

Everything a good pop song should be. And perhaps the reason Dolce so staunchly defends Shaddap You Face as a great folk track.

Versions of the song have been recorded by a remarkable 37 acts, in 15 different languages (including three in Spanish, two in German, two in French and an Icelandic version). Proof, Dolce says, that it bridges cultures.

And it has been covered in many different genres, from early British dance outfit EMF to US rapper KRS-One. "No one called it a novelty song when he covered it," quips 58-year-old Dolce from his North Carlton home.

If you look past the original recording's ham-Italian accent and limp comedic mandolins, the song speaks of a migrant teenager's battle with his domineering mother, of the new society the family had found itself in, and the struggle of their working-class life.

"People snigger at Shaddap You Face, but it still earns us a lot of money, even today," says Mike Brady, who released the song on his record label Full Moon Records (established with earnings from Up There Cazaly).

Brady also believes the song played a part in the emergence of new attitudes to multiculturalism. "Ethnic Australians finally felt comfortable enough to laugh at themselves."

Many others, of course, just saw it as a chance to laugh at migrants.

Dolce himself believes his song was the start of a rising tide of tolerance in Australia — that ethnic minorities could finally be accepted, and that humour was a way to shimmy them through the door of acceptance, rather than a dour-faced political correctness. His song is as unlikely a place as any to pick up the rich vein of ethnic humour that ran through 20th century Australia.

It began with John O'Grady's 1957 book They're A Weird Mob (written under the pseudonym Nino Culotta), and continued through Wogs Out of Work and Mary Coustas' Effie, to present-day comedians Fat Pizza, Hung Le and Tahir Bilgic.

Dolce himself is an interesting study in multiculturalism. Born in Ohio to an Italian-American family, he came to Australia in 1978 with his Australian first wife, after almost a decade trying to forge a career in the American music scene.

What he found in Melbourne horrified him.

"Back home, to be an Italian entertainer was something to be proud of. In America, Frank Sinatra was the benchmark," says Dolce.

Here, there was barely a mark. There were no Italian entertainers, and people from southern Europe were roundly derided as "wogs" and "dagoes". And they weren't terms of affection.

"In those days, the word wog was like the word c---," says Dolce. "If you said it, you said it low."
He first performed Shaddap You Face at a talent night in 1979 at the long-gone Marijuana House in Brunswick Street, Fitzroy.

He had recently visited his childhood home in Ohio, and heard phrases his Calabrian and Sicilian grandparents had muttered to him as a child: "What's the matter you?" and "Eh, shaddap". He incorporated them into a song about Italians in Australia, and played the song as the character Giuseppe.

"At the end of the night, I'd sing Shaddap You Face, pass the hat around, and make about $20," says Dolce.

Though it was comedy, Dolce also used the performance to confront racism.

"Giuseppe would get audiences to talk about their idea of a 'wog'. At first, everyone would be silent and embarrassed. Then, with a bit of coaxing, they would eventually start pulling out these foul, repugnant terms for a 'wog'." After a while, everyone would pick up the absurdity of what Dolce was doing and laugh at themselves. "It was kind of like group therapy."

ON JULY 3, 1980, Dolce rented one of Mike Brady's studios and recorded the song. He took it to Mushroom and Festival Records, who laughed him out of the building. He took it back to Brady.

By November, it was atop the Australian charts.

By the end of 1980, even Elton John had recognised Shaddap You Face's selling power. John had heard the song while touring here, and had his manager approach Dolce with the idea of buying the rights for the UK market.

After Dolce knocked them back, John's group immediately contracted Andrew Sachs (Manuel from Fawlty Towers) to cover the track, perhaps in the hope the Australian's lack of knowledge of the European market would allow them to release a slightly altered version (Manuel was to be from a Spanish family).

But Dolce was no bumpkin from the boondocks: an immediate injunction with a British court stopped the release of Sachs' version, and a judgement in Dolce's favour forced the recall of all copies of that version.

But the song stands as evidence of multicultural Australia's new-found ability to laugh at its own ethnic stereotypes, says Dolce. "Australians laugh at Crocodile Dundee," he says. "Barry Humphries magnifies Australian characters. Italians make fun of their characters in the same way."

Once the humour is accepted, so is the minority group, says Dolce. "If you can't really laugh about something, it's still marginalised."

He cites the Koran as a contemporary example. "You can't make jokes about it because you'll be killed. You can't mess with Allah."

Today, much of Dolce's time is taken up writing new material and performing a stage show called Difficult Women with partner Lin Van Hek.

If ever he sings Shaddap You Face it's in an Aboriginal dialect. In the song, he tells the story of a Dreamtime teenager being scolded by his mother. "Noone recognises what I'm doing when I perform it till a few minutes through, because I'm starting off on the basis that, because it's an Aboriginal song, it's a serious song."

Milestones
Name Joe Dolce

Age 57

Lives North Carlton

Born Painesville, Ohio

Famous for Shaddap You Face, which sold 350,000 copies in Australia, knocking off 1979's Up There Cazaly as Australia's best-ever selling single. Cazaly had only recently overtaken Slim Dusty's Pub With No Beer.

First Australian single 1978, Boat People, a protest tune about Australia's shabby treatment of Vietnamese refugees. The song flopped.

Last recording 2003, One Iraqi Child, a protest song about war in Iraq.

Website joedolce.net.au

Thursday, July 14, 2005

London Hurts

London hurts

You seem to have missed one of the most telling examples of online reactions (Defiance on the web, July 11).

Livejournal.com is not a "community forum for London", but a host for web journals for people round the world.

One well-meaning American decided to start a "London hurts" community to allow people in other countries to share their thoughts: hence the slogan "Today, I'm a Londoner and today I hurt".

But this was abruptly derailed when the community was discovered by actual Londoners, who proceeded to mercilessly satirise it with a succession of spoof images such as "Today, I am a Londoner, and I got a day off". – Clare Sainsbury, London (The Guardian)

PostSecret

PostSecret

14 July 05
Carol T Chung

Frank Warren initially started this as an interactive art piece.
PostSecret (http://www.coolhunting.com/linkout/?http://postsecret.blogspot.com/) is a blog in which people anonymously submit their secrets on handmade 4 x 6 inch postcards via snail mail.

Although some of the submissions are very humorous, others are very sad and some politically incorrect. Not only does the work evoke strong sentiments or even memories from the audience, but it also provides an outlet for those that feel the need to free themselves from their secrets.

New secrets are posted every Sunday.

Bathroom Diaries

At www.thebathroomdiaries.com you'll find more than 8,000 reviews of public toilets in more than 100 countries

Wednesday, July 13, 2005

Hell

"Hell will be a viciously overcrowded version of Phoenix – a clean well lighted place full of sunshine and bromides and fast cars where almost everybody seems vaguely happy, except those who know in their hearts what is missing."

Monday, July 11, 2005

The End of the Rainbow

The End of the Rainbow

Fred R. Conrad
The New York Times
Dublin

Here's something you probably didn't know: Ireland today is the richest country in the European Union after Luxembourg.

Yes, the country that for hundreds of years was best known for emigration, tragic poets, famines, civil wars and leprechauns today has a per capita G.D.P. higher than that of Germany, France and Britain. How Ireland went from the sick man of Europe to the rich man in less than a generation is an amazing story. It tells you a lot about Europe today: all the innovation is happening on the periphery by those countries embracing globalization in their own ways - Ireland, Britain, Scandinavia and Eastern Europe - while those following the French-German social model are suffering high unemployment and low growth.

Ireland's turnaround began in the late 1960's when the government made secondary education free, enabling a lot more working-class kids to get a high school or technical degree. As a result, when Ireland joined the E.U. in 1973, it was able to draw on a much more educated work force.

By the mid-1980's, though, Ireland had reaped the initial benefits of E.U. membership - subsidies to build better infrastructure and a big market to sell into. But it still did not have enough competitive products to sell, because of years of protectionism and fiscal mismanagement. The country was going broke, and most college grads were emigrating.
"We went on a borrowing, spending and taxing spree, and that nearly drove us under," said Deputy Prime Minister Mary Harney. "It was because we nearly went under that we got the courage to change."

And change Ireland did. In a quite unusual development, the government, the main trade unions, farmers and industrialists came together and agreed on a program of fiscal austerity, slashing corporate taxes to 12.5 percent, far below the rest of Europe, moderating wages and prices, and aggressively courting foreign investment. In 1996, Ireland made college education basically free, creating an even more educated work force.

The results have been phenomenal. Today, 9 out of 10 of the world's top pharmaceutical companies have operations here, as do 16 of the top 20 medical device companies and 7 out of the top 10 software designers. Last year, Ireland got more foreign direct investment from America than from China. And overall government tax receipts are way up.

"We set up in Ireland in 1990," Michael Dell, founder of Dell Computer, explained to me via e-mail. "What attracted us? [A] well-educated work force - and good universities close by. [Also,] Ireland has an industrial and tax policy which is consistently very supportive of businesses, independent of which political party is in power. I believe this is because there are enough people who remember the very bad times to de-politicize economic development. [Ireland also has] very good transportation and logistics and a good location - easy to move products to major markets in Europe quickly."

Finally, added Mr. Dell, "they're competitive, want to succeed, hungry and know how to win. ... Our factory is in Limerick, but we also have several thousand sales and technical people outside of Dublin. The talent in Ireland has proven to be a wonderful resource for us. ... Fun fact: We are Ireland's largest exporter."

Intel opened its first chip factory in Ireland in 1993. James Jarrett, an Intel vice president, said Intel was attracted by Ireland's large pool of young educated men and women, low corporate taxes and other incentives that saved Intel roughly a billion dollars over 10 years. National health care didn't hurt, either. "We have 4,700 employees there now in four factories, and we are even doing some high-end chip designing in Shannon with Irish engineers," he said.

In 1990, Ireland's total work force was 1.1 million. This year it will hit two million, with no unemployment and 200,000 foreign workers (including 50,000 Chinese). Others are taking notes. Prime Minister Bertie Ahern said: "I've met the premier of China five times in the last two years."

Ireland's advice is very simple: Make high school and college education free; make your corporate taxes low, simple and transparent; actively seek out global companies; open your economy to competition; speak English; keep your fiscal house in order; and build a consensus around the whole package with labor and management - then hang in there, because there will be bumps in the road - and you, too, can become one of the richest countries in Europe.
"It wasn't a miracle, we didn't find gold," said Mary Harney. "It was the right domestic policies and embracing globalization."

Sunday, July 10, 2005

A rigging yarn that cuts to the quick

A rigging yarn that cuts to the quick

http://entertainment.timesonline.co.uk/article/0,,14934-1686216,00.html

July 10, 2005
By AA Gill

Rolf Harris: a name that is to the art world what woodworm is to an antiques shop.

Purely by accident, I caught sight of him in Africa last Sunday, daubing fake San rock art and terrifying Ghanaian children with his chronic musical panting, which always sounds so unpleasantly suggestive. And then, the all-round entertainer was off carving an Ashanti stool. “I’m thinking of doing a Jake the Peg thing with this and giving it a third leg, ” he breathlessly told us, before mentioning that Picasso liked an African mask, and finally painting, in acrylic, a hideous, cheap, plagiarising, crassly patronising, culturally steam-rolling postcard picture of a colourful woman with a baby strapped to her back that defied either irony or excuse.

All this coming the day after Live 8 was a bit of a shock. Haven’t they suffered enough? Is the price of making poverty history importing cultural poverty? What has Africa done to deserve Rolf on African Art (Sunday, BBC1), on top of everything else? Some time ago, I said that it was difficult to hate Rolf Harris, but that we should persevere, because he is probably the devil.

What do you think the devil is going to look like — Vincent Price? Peter Mandelson? No, he’s going to be Rolf Harris. Since I wrote that, we’ve had a couple of stern letters from my learned friends and, as a consequence, have to publish this correction: “The devil has never at any time taken on, doppelgängered or in any way occupied the persona of Mr Rolf Harris. The devil takes strong exception to the implication that he might be or might use the methods of Mr Harris.

“The devil has always appeared solely and only as himself and is the author of all his own work. Furthermore, he never dabbles in cultural abomination. There are strict rules about that sort of thing.

“He is evil, but you’ve got to draw the line somewhere.”

Well, I’m happy to put that straight and offer an unconditional apology.

Saturday, July 09, 2005

The big bang

The big bang
By Graeme Philipson

http://www.theage.com.au/articles/2005/07/06/1120329497679.html

July 9, 2005

Ten years ago there were 6655 bank branches in Australia. Today there are just 4888. Over the same time the number of bank tellers has declined by half, according to the Reserve Bank.

There are no figures on visits to banks, but most likely they have fallen by an even greater margin. Today every PC is a bank branch, and we are all tellers.

Online banking is just one way technology, and in particular the internet, is changing our lives. Consider what the world was like in 1995, just a decade ago.

In that year, Microsoft released Windows 95, the first version that worked as advertised. Labor was in power in Canberra, and out of power in Britain. O.J. Simpson's trial in the US redefined the meaning of justice.

Best picture Oscar was won by Mel Gibson's Braveheart. Carlton won the AFL premiership (maybe it really was a long time ago), and the Bulldogs stormed into the rugby league premiership from sixth spot.

In 1995 Amazon was a small firm struggling to survive and email was a novelty. Digital cameras and iPods didn't exist. Analog mobile phones were clunky, expensive and unreliable. PDA still stood for "public display of affection". The Java programming language was announced that year, as was the first Sony PlayStation.

Since then a whole range of new technologies and services have come into being that have totally changed our behaviour and habits, at work and at play. We are surrounded by electronic digital devices. We buy our cars, do our banking and read our news online. Newspaper circulations and cinema attendances are declining. Most dating services, job ads, and encyclopedias are now online.

We can send and receive SMS messages from fixed phones, watch TV on our computers, and surf the net and take pictures with our mobile phones. Wireless communication is widespread, for voice and for data, and the day of seamless integration of wired and wireless networks is almost upon us. The internet, only a baby 10 years ago, has matured. We rely on it and we trust it.

The key has been the movement of information from analog to digital. Analog signals represent information as waves. All analog signals are different, and storage or retransmission means an inevitable loss of quality. With digital, all information is expressed as zeros and ones, which means we use the same technology for storing and transmitting all media and all computer-based information. TV, CDs (and now MP3 players), DVDs and telephony all employ a string of binary digits, called bits. Digital signals can be stored, copied and retransmitted an infinite number of times with no loss of quality and at virtually zero marginal cost.

The internet has been around since 1969, when the United States Defence Department started connecting its research computers to each other. But initial growth was slow and in the early '90s still largely restricted to government and academic users. It was hard to use, text based, had poor search capabilities and required arcane commands to navigate it.

But in the late '80s Englishman Tim Berners-Lee worked out a way to make the internet easy to use, by introducing a new naming convention and the concept of hypertext. He called it the World Wide Web. Suddenly, it became possible to search the internet, and people began to build web pages for other people to look at.

Then in 1993 the US Congress changed the law to allow the internet to be used for commercial purposes. That year also saw the introduction of Mosaic, the first easy-to-use web browser. At about the same time, PCs became commonplace in business and the home, and data communications improved to the point where dial-up internet connections were good enough to handle simple graphics - as found on web pages - as well as text.

This classic combination of technological advances caused what many people call an inflection point - when all the conditions are right for a major new advance. Nobody really predicted the explosive growth of the internet. As late as 1994, even Bill Gates called it a transitionary technology "that doesn't even have a billing system" (Gates is into billing systems). But the inflection point hit hard in the mid '90s, leading to a frenzied tech boom and some of the biggest changes we have ever seen in the effects of technology on society.

Falling prices and vastly improved ease of use switched the focus of technology from corporations to the individual, and to the home. The biggest changes have been in personal communication - the internet, the mobile phone and pay TV.

In April this year, research company Connection Research Services released the results of a major survey into the digital usage habits of Australian households. CRS interviewed more than 1000 households, and found that 65 per cent were connected to the internet. More than one-third of these were on broadband, with the proportion predicted to grow to half over the next two years. Ten years ago less than 10 per cent of homes were on the internet. All connections were dial-up - the concept of broadband didn't even exist.

The CRS study also found that more than 80 per cent of Australian homes have at least one mobile phone, and most own more than one. Most homes have DVDs and a digital camera. They also have multiple TVs, and 80 per cent have at least one computer. Home theatres, driven by the plummeting cost of new TV technologies, are now found in nearly 20 per cent of all homes, often in rooms dedicated to the purpose.

For a glimpse at the future, look at South Korea. Nearly 80 per cent of South Korean homes have broadband connections - and South Korean broadband is truly broad. Most connections are at 2 megabits per second (2Mbps) or higher (a typical residential broadband connection in Australia is 512kbps). The South Korean Government expects that 70 per cent of internet connections will exceed 20Mbps by the end of 2006 and that most will be at 100Mbps by the end of the decade.

At these speeds, and with this level of penetration, the internet pervades South Korean society to an extent unknown in the rest of the world. But with success come problems. In South Korea, cyber crime is out of control, and a quarter of all teenagers are classed as internet addicts, many with behavioural problems.

New cultural tools have appeared, such as "avatars", digital characters used to identify yourself online. There exists in Korea a digital world, of the kind predicted in Tad Williams's sci-fi trilogy Otherland, which is as real to its inhabitants as the corporeal world. Gangs of cyberyouths roam the net, stealing cybergoods from unfortunate avatars and disrupting things.

There are other challenges. What is the future of intellectual property when music, films and software can be transmitted around the world in an instant and copied an infinite number of times? How can we make the virtual world as secure as the real world? Can we even distinguish real life from cyberlife?

In 2005, we already have the sub-$1000 notebook, the terabyte (1024 gigabytes) of storage on our video recorder, and the video camera in our phone. Ten years from now, everything we have now will be cheaper, smaller and easier to use, and a lot more mobile. The phone network, pay and free-to-air TV networks, and the net itself will all merge into a larger network, which some are calling the Supernet.

True broadband internet will let us reliably make telephone calls (VoIP) and watch TV (TVoIP) on the net. It's all digital, which means it's all about bandwidth. Forget ADSL - even the much-vaunted ADSL2 is not truly high-speed broadband in comparison. Broadband is best achieved with a fibre optic network, which will reach most Australian homes by 2015. Within homes, a combination of structured multipurpose cabling and wireless will keep us connected - everywhere, all the time.

A lot has happened in 10 years. But the information millennium has barely begun. The technological changes we are witnessing are just the beginning - anybody under 30 today will see changes on this planet our grandparents could not even dream of.

Over the next generation we will see the interconnection of all devices at bandwidths incomprehensible today. We will see the marriage of carbon and silicon, the merging of computers and organic life. Fancy a terabyte of data at the base of your brain?

How humankind adapts to these changes will determine the fate of our species. The past 10 years are not even a dress rehearsal. A good rule of thumb is - if you can imagine it, it will happen. The only question is: when?

Five essentials

Tim Berners-Lee, the man credited with inventing the web, says he's looking forward to the day when his daughter finds a rolled-up 1000 pixel by 1000 pixel colour screen in her cereal packet, with a magnetic back so it sticks to the fridge. That will happen and probably sooner than we think.

Today we rely on technology to stay in touch and to do everyday things in an entirely different way from how we did them just a decade ago. Consider the following technologies and how they have affected your life.

Mobile phones. Truly the communications phenomenon of the decade. There are now nearly as many mobile phones as people in Australia. How did we ever stay in touch before? Text messaging is even changing the grammatical structure of the language.

Digital cameras. Film is all but dead. Our photo albums are in our computers - or our mobile phones. But will we be able to show our grandkids? Electronic images are more fleeting than those on paper.

Email. If you don't have an email address in the information millennium, you are a non-person. Email and instant messaging is how the world stays in touch. It's also the preferred vehicle for viruses, spam and flaming (organised electronic abuse).

Pay TV. OK, not a necessity, but it didn't exist in Australia 10 years ago, and it's where the world is headed. But pay TV as we know it today is a transitionary technology - 10 years from now, it will be delivered via the internet.

Online banking and shopping. The banks aren't closing branches just to save money. The whole nature of banking has changed, thanks to the internet. The net is a giant shopping mall, where you can buy and sell anything. Amazon and eBay have truly changed the world of commerce.

Wednesday, July 06, 2005

Food Critic

Food Critic

06 July 05
Parker Hutchinson

Artist Nicolas Touron’s new exhibit at the Virgil de Voldère Gallery (http://www.coolhunting.com/linkout/?http://www.virgilgallery.com) in New York City uses most unlikely objects to tell his startling fables of global affairs. Armed primarily with sugar and ceramics, he has set out to portray the world as he sees it, a sphere where the world’s daily machinations can be both overwhelming and terrifying, and things are rarely as sweet as they appear.

Touron, who holds an MFA from the School of Visual Arts in New York, presents his work in his first solo exhibition, entitled "Stories, Tails and Adventures." This showing, which runs until August 7th, is the French artist's tenth since arriving on a Fulbright scholarship four years ago.
The bulk of the exhibit consists of two sculptures and walls of ink drawings. The first sculpture, entitled “Soft Landing,” is a dioramic scene depicting a sleek but massive porcelain airliner that apparently failed to defy gravity. Although the title suggests the craft, with ribbony joints of pink silicon, was brought down gingerly, a slew of what seem to be casualties sink beside it: cars, broken-necked flamingos, small aircrafts, toilets, and melted spoons.

The collection’s flagship sculpture piece, “Food Project,” uses porcelain and pastry products as its primary media to construct a scene that suggests a commentary on fossil fuels. A small aluminum rig spouts rainbow sprinkles high in the sky and over to another, which is covered in the colorful confection. Shiny white cars are filled with and fueled by the stuff as they drive among industrial semi-spherical blossoms of red icing and mounds of Nesquick. In both pieces the media, scale, and placement on the floor are all reminiscent of childhood playsets.

Probably the most impressive in the exhibition are the drawings. Employing similar imagery, these fifteen pieces use brightly colored and metallic inks to depict international relations as the circus it often seems to be. The drawings carry with them an implied geography; lands made of sugary pink fluff and stiff lumber are arranged in map-like composition littered with weaponry, news surveillance copters and anamorphic fauna whose anatomy contains everything from Nutella jars to detergent bottles.

Though the art’s choice of imagery and media may seem random and outrageous upon first glance, the exhibit’s title offers insight into its purpose. “Stories, Tails and Adventures” is like a collection of fairy tales for modern times. Long before their capitalization by Disney and on-screen animators, fairy tales were told to children for a much more serious purpose. This narrative form, best exemplified in stories like “Little Red Riding Hood” and “Hansel and Gretel,” was devised over centuries of French and German oral tradition to warn children from an early age of the grave and bleak realities of serfdom. These grim stories served to prepare the young for a life of malnutrition, disease, poverty and exploitation at the hands of feudal lords. At their core, most are terrifyingly violent, but softened by the settings of candy-filled lands and the displacement of human rogues and murderers by animal counterparts. They are fables meant to warn us of the worst of human nature in early childhood before we encounter it.

Likewise Touron’s quixotic narratives, however abstracted, are cautionary tales that sweeten very serious issues in a contemporary world. Instead of dark and dangerous forests, he situates his adventures in industry, urban microcosms and global disputes and laces them with colorful confections and bubble-gum landscapes (not surprising choices considering his past as a professional chef in Paris and Amsterdam).

All in all, it’s hard to say if Touron’s work can be considered criticism. As much as it deals with heavier issues such as unbridled enterprise, xenophobia and warfare, viewers must realize that these realities simply exist, shaping the world we live in and having bearing on our lives. The most apt way to approach a description of what he’s doing may be to simply peg it as observation, for his works seem to pass no blame, contain no call to action, and offer no solutions. They are visual narratives of the artist’s modern-day concerns and fears, told with a playful gravity that is uniquely his own.

Virgil de Voldere GalleryA.K.A. Slingshot Project526 W. 26th Street, Room 416New York, NY 10001
June 23 - August 7, 2005Monday - Saturday 10 am - 6 pm

What it's like to live on $1 a day

What it's like to live on $1 a day

http://www.csmonitor.com/2005/0706/p01s05-woaf.html

Xanthe Scharff
The Christian Science Monitor

July 06, 2005 edition

A Malawi family budgets 16 cents for doughnuts.

At 8 a.m., after seeing her husband off to work and her children off to school, Selina Bonefesi puts on her entrepreneur's hat. Mrs. Bonefesi has a small business making fritters - fried cakes made of wheat, salt, sugar, and yeast.

She'll spend the morning mixing, waiting for the dough to rise, and frying, cranking out as many as 300 of the tasty treats and selling them from her home to passersby. By the end of the week, between her household chores and running her business, she'll have logged more hours than a

But she'll only earn about $1 a day.

Selina, her husband, and four children are among the 1.2 billion people in the world living on less than a dollar a day - what the United Nations calls "extreme poverty." Many of them are in Africa. Some live in rural villages, others in urban shantytowns; some can be found in the deserts of Chad, others in the jungles of the Congo. Yet Selina's family in Malawi is typical: they have limited education, little access to jobs or capital, and are ruled by an indebted government that lacks a coherent plan for helping its poorest citizens. It is families like Selina's that the leaders of the world's wealthiest nations will be looking to help as they meet in Scotland for the G-8 summit this week.

The Monitor visited with Selina to learn how a family of six lives on so little - and to hear from them what would be most helpful from the richest nations in the world.

Selina's message to donors is quite simple. "Monetary help is needed," she says. "We want iron sheets on our houses. We want capital for our businesses."

In a typical week, Selina will make 1,125 Malawian kwatcha, or $9.09, in fritter sales. With the $5.17 that's left over after she buys supplies for her next batch, she'll purchase food and amenities for her family and tuck away $1.25 into savings. Her annual earnings, combined with her husband's earnings as a farmer, will give the family of six, after business expenses, about $453 to live on this year.

Selina married her husband, Bonefesi Malema, when she was 16 and took his first name as her last. Selina's fritter business is meant to be a buffer against hard times, warding off the insecurity that comes with each growing season. Selina says her contribution is only to "take some of the financial strain off my husband and to help his farming business." But this year, Selina is the main breadwinner.

The fruits of her labor are 150 small fritters and 150 large fritters, which will sell for about $.02 and $.04, respectively. Her customers are her neighbors, schoolchildren hungering for a midmorning snack, and people headed to the market three miles past her town. They all know Selina's house and yell out to her from the yard for service with a smile.

With the exception of the trip to the market to buy supplies, Selina's entire business - preparation and selling - is done within the confines of her house, allowing her to continue her primary role as the caretaker of her family. "Some women have had problems with their husbands when they engage in economic activities," she explains. "Those are the women who neglect their family duties."

Some weeks, Selina may be able to make two batches of fritters, doubling her take. But with nearly 15 percent of Malawians HIV-positive and life expectancy at 37.5 years, funerals often occur twice per month, and require donations and communal labor, dipping into her work time.
Selina has been in business for three years. In 2001, the Malawi country office of Care International, a private volunteer organization based in Atlanta, Ga., targeted the 10 most destitute women in Selina's village of 333, just outside the capital, Lilongwe, for a road-maintenance program. The women received economic and personal-empowerment training in exchange for their labor. Selina qualified for the program, learning how to save money with the group and start her own business. The women have now saved $125 for things like fertilizer to boost their husbands' harvests.

Three miles to market on foot.

On a new day, Selina walks the three miles to the market. With the money that's left over from buying $3.92 worth of fritter supplies, she'll purchase fish ($.24), tomatoes ($.08), and practical items - soap, lotion, and salt, for a total of $.51. Trousers and two blouses for her youngest children tally $.50 after bargaining down the price. Next week she'll give her son $1.25 to select his clothes but will spend up to $1.60 on her daughter, knowing the importance of an attractive wrap. She motions to the brightly colored cloth that covers her legs. "If a woman has more than one of these, then she is a real woman," she says.

When Selina returns at dusk on tired legs, her children run to meet her. They tug at the parcel she has balanced on her head and unveil four doughnuts. While the treats cost a total of $.16 - about half the cost of dinner - any mother could understand why she splurged. "I bought them so that when the kids are coming to meet me and calling, 'Ma! Ma!' I can have the pleasure of giving them something to make them even happier," she says.

With the fish and tomatoes, Selina will make a special porridge supper. Usually they will eat porridge garnished only with dried pumpkin and bean leaves, picked from the surrounding area in season and dried for use throughout the year. Greens from their garden also provide some variety to their meals. But because the diet is generally bland, Selina says, "I do struggle to get a little tomato for flavor." If they ever find themselves with extra funds, Selina and her husband will treat themselves to luxury items: a liter of milk for $.38, a loaf of bread for $.50, or half a pound of beef for $2.50.

The family has precious few belongings, all bought from the local market - a pail for water, a handmade lamp, and some plastic chairs that they hospitably lay out for visitors not accustomed to sitting on the hard-packed dirt. Several years ago, after a particularly fruitful harvest, Bonefesi bought his most powerful possession: a bicycle worth $50, which is used to transport tobacco from the field. He also enjoys a radio he bought for more than $4.

Bonefesi farms both tobacco and maize on his three-acre holding. He laid out a whopping $67.87 for fertilizer this year and will struggle to see returns on his investment. Bonefesi will pay an entrepreneurial neighbor with an ox cart about $2 to bring his harvested maize to the house. He treats the crop in his storage shack with a chemical solution to keep away termites, which runs him another $1.62. Bonefesi hopes to receive $21.25 for each of three 110-lb. bags of maize that he harvested this year - $63.75 total.

While tobacco requires more input than maize, it's an export crop so the reward is greater. Bonefesi will shell out $2.42 for tobacco seeds, $.81 to use a tobacco press, and $4.04 to transport the goods to the auction house. He will be content if he receives around $100 for his one bale of tobacco.

The income from Bonefesi's farming activities will total $197.07 and will yield $118.29 in profits this year. With this, Bonefesi can pay for the $75.14 in annual family expenses that Selina's earnings do not cover, including school uniforms and fees. This does not leave much margin for investment in business, or for emergencies like funerals, illness, or a low return on crops.

Fortunately, the sale of 15 of the family's chickens will add $36.36 to the kitty, as well as protein to Selina's dishes. They don't eat the eggs - they would rather let them mature into full-grown birds. This year they could save about $175, some of which they will put aside for harder times.

Children help out.

While all the children pitch in to help in the fields or by selling fritters, Anne, the oldest daughter, bears the brunt of the household chores. While her 19-year-old brother, Sifiledi, attends 11th grade, she stays home to help her mother. Anne completed 8th grade, the last free year of public school, but her parents cannot afford the cost for 9th grade.

They do, however, consistently pay Sifiledi's yearly tuition bill of $29.09 and a per annum of $6.46 for school supplies and smart pink-and-blue uniforms for the three school-going children.
Bonefesi proudly tells of Sifiledi's ambition. "He would like to work in the government in the rank of official," he says. They hope that if he continues to study he will achieve his dream. Anne has ambition, too. She would like to be a nurse. While the children will hope to earn more than their parents, the majority of teens will remain in the village as farmers and housewives.

Selina and Bonefesi's economic situation is like many families in Malawi, where 65 percent of the population of more than 11 million live on under a $1 per day. The couple talks about the realities of their village, which sits close to the international airport. It has a murky well filled with gray water, distant hospitals, and scarce and expensive fertilizer. "We do struggle to live a good life like others but we fall short each and every day," Selina says.

While Selina and Bonefesi will continue to work diligently at their businesses, Bonefesi wants Western readers to know: "It is good to live in Malawi, but poverty is the real struggle. If there are other countries that are willing to help, let them help us fight poverty. Poverty is the biggest enemy we know."

Tuesday, July 05, 2005

Manhole covers hide secret Moscow

Manhole covers hide secret Moscow

http://news.bbc.co.uk/1/hi/world/europe/4648569.stm

Nigel Wrench
Diggers of the Underground, BBC Radio 4

July 5th, 2005

Wading in underground tunnels offers some people peaceThe manhole cover was in the middle of a park in the centre of Moscow.

"Here we are," said Eugin, putting a small bag down on the grass. "This is where we go underground."

It didn't seem terribly likely. Outside, at 2230 on a summer's evening in Moscow, it is light enough and warm enough for Russians to sit in groups and on benches drinking cans of beer and talking.

All around the park near our manhole cover, that is exactly what they were doing. Now, while they watched, we were about to go underground.

Eugin pulled a peculiar-looking garment from his bag.

"Put these on. The water down there is not very nice."

I began to attempt to pull on a pair of rubber dungarees.

Secret railway.

Eugin is 22. He has his own group of "diggers" - the word used in both English and Russian to describe an emerging sub-culture of amateur explorers who attempt to penetrate the secret spaces underneath Moscow.

I'm not sure I'd do it again, but I think I do now understand the appeal of this hidden underground world.

Eugin had already shown me spectacular images on a laptop computer of one of his most extraordinary adventures. He told me they were of a journey along the entire length of a secret underground railway system, first built to evacuate Soviet leaders from the Kremlin in time of civil disturbance or war.

The existence of "Metro 2", as it has become known, has long been rumoured. Officially, even in these post-Soviet times, it does not exist. Agents of the FSB, the successor to the KGB, called in one Russian journalist for questioning after he wrote about the secret network.

If Eugin's story is true, he is one of a very few outsiders to have been to Metro 2, and emerged with photographs to prove it.

They are images of huge tunnels, well-lit, a floor of concrete with rails set into it: ready for a train, a truck, or perhaps a tank. According to Eugin, the tunnels run for 25km, out into the countryside. He would not say how the diggers got in.

There are said to be around 100 diggers in Moscow. They are, on the one hand, extreme sportsmen and women seeking an adrenalin rush. But they are also uncovering the secret history of their city and their country as, on the streets above, smart boutiques and flashy cars are the new face of Moscow and of Russia.

Ankle-deep

The underground is an escape, too, from the pressures of a fast-changing society that is still in transition from the many decades of Communism. One woman said to me: "I feel at peace underground."

And there are stories of buried treasure. Some seek the lost library of Ivan the Terrible, priceless documents in a secret chamber, hidden for hundreds of years. I learn that this may or may not be a Russian fantasy.

Moscow's manhole covers hide a secret subterranean world"Go! Now! Quickly!" Back in the park, the manhole cover had been dragged aside. Several of the beer-drinkers looked up. Eugin was gesturing towards the dark hole.

My dungarees more or less in place, I scrambled down, my feet just catching some rungs below the surface. There was the sound of water, ankle-deep as it turned out, and fast-running.
As I reached the bottom, the manhole cover above was pulled back into place as Eugin followed me down. Another digger was ahead of me, with a torch. I'd been told this was the Neglinka River, first diverted underground by Catherine the Great.

It felt like a large drain.

Alone

There was a bricked arch a foot or two above my head, wide enough to touch each side with my fingers, pipes coming into it from every direction, and a strange rumble from above as we walked on.

"Cars," said Eugin when asked.

"Why on earth do you do this?" I asked. He just shrugged.

We walked for a while. My heartbeat began to return to normal. I began to see the point. There is a strange beauty about being underground. A kind of serenity.

There was no doubt that we were alone, but for the water, and the smells coming from the pipes leading to our river.

Our little party turned at what the diggers called the "waterfall", a drop of several metres at a
right-angled turn.

We walked back, upstream now, the water running fast towards us. A stop, and then up to another manhole cover, opened quickly to reveal the extraordinary sight of the sky, a dark almost-midnight Moscow sky.

I had been told you had to experience being underground to understand what being a digger means and why they do it. I'm not sure I would do it again, but I think I do now understand the appeal of this hidden underground world. And I certainly look at manhole covers in a very different way.

You can hear Diggers of the Underground on BBC Radio 4 on Wednesday 6 July at 1100 BST and for a week afterwards on BBC Radio 4's Listen Again page.

Sunday, July 03, 2005

This is a stick up

This is a stick up

http://observer.guardian.co.uk/review/story/0,6903,1519726,00.html

Tim Adams
Sunday July 3, 2005

The Observer

Chewing gum gets under our feet and costs us millions a year to clean up. Yet, for all the annoyances it causes, it can inspire artists and philosophers. As the late Primo Levi observed, it sticks to your mind as well... Facts stick to chewing gum. Read anything about it and you come away with non-biodegradable numbers, stubborn statistics: there are 28 million regular chewers in Britain; nearly a billion packs of gum are sold here each year. By some estimates, up to 3.5 billion gobs of gum have at one time or another been spat or dropped on to our streets; 92 per cent of city paving stones have had gum stuck to them.

In 2003, local councils received half-a-million complaints about gum on pavements or, worse, on shoes, or, worst, in hair. Each piece dropped costs about 10p to remove. And - this one is often the killer - despite the efforts of Swat teams armed with lasers, scrapers, dry ice and high-pressure water nozzles, about 300,000 bits of gum adhere to benches and pavements in London's Oxford Street at any one time.

One thing that these numbers prove is that sometimes it's hard to see what's right in front of you. I walked over many million paving stones before noticing that those irregular, black-and-grey circular markings on them were flattened pieces of Doublemint or Juicy Fruit. The moment of realisation came about 10 years ago, when I read a posthumous collection of newspaper columns by Primo Levi. Not long before his suicide, it seems, the chemist and survivor of Auschwitz had become preoccupied by the ground beneath his feet, seeing everywhere remnants of human traffic, little memento mori. 'Adhaesit pavimento anima mea'; 'My soul clings to the pavement,' he wrote.

Along with Levi's soul on the asphalt was all the other evidence that 'future archaeologists will find there like insects in amber: Coca-Cola caps and the rip-off tabs from beer cans [showing] the quality of our alimentary choices', and, in particular, 'chewed gum.' Levi became something of a cartographer of this streetscape. 'Gum can be found everywhere,' he observed, 'but a more attentive examination reveals that it reaches maximum density in the vicinity of the most frequented bars: the chewer who is headed there is forced to spit out to free his mouth. As a result, the stranger, not familiar with the city, could find these places following the direction of the more thickly massed gum blobs, in the same way as sharks find their wounded prey by swimming in the direction of increasing concentrations of blood...'

I have, once or twice, in the absence of a guidebook, attempted to use this method of navigation - it is, in my experience, at best hit and miss - but Levi was right in one sense: once you have started to see the gum, you can't stop. It's like 10,000 holes in Blackburn, Lancashire; you have to count them all. For a long time, it seemed, most of us could live with the fact of discarded gum without undue worry. Recently, however, all those numbers, all that gum, have come to look, for some, like a symbol every bit as potent as a 'hoodie' or a graffiti tag, a signifier that we are going to the dogs, that social bonds are loosening, that 'yob culture' is ascendant. It is for this reason that the battle against chewing-gum blobs has become a new front line in the war on antisocial behaviour.

The minister for Gum, among other things, is Ben Bradshaw, the MP for Exeter. He chairs the Chewing Gum Action Group, which is responsible for a new system of on-the-spot fines for gum-dropping and for gum-educational initiatives. Bradshaw is not a chewer himself except, he says, in his youthful New Labour way 'when dancing or clubbing', and, even on these big nights out, he is sure to wrap his wad in a piece of silver paper and dispose of it with proper care.
I met him, along with a couple of civil servants last week, at his offices at Defra (Department for Environment, Food and Rural Affairs), to ask why chewing gum has been receiving government attention of late. He replied with something that these days sounds a bit like his party's ideology.
He'd just come out of an election campaign where the issues people talked to him about on the doorstep were not the issues that concerned the upmarket media and the political classes - pensions, Iraq and so on. More often than not, these people were concerned by the things going on outside their front door. It was, he believed, only right for central government to respond to these concerns.

'We've had fantastic feedback from the public for our pilot [gum] schemes. I was presented yesterday with a two-inch stack of local-newspaper cuttings. Also,' he said, with some glee, 'it's very rare that the Labour government gets a front-page splash and a generally positive editorial in the Daily Mail. It shows these are issues that are a concern for people.'

The chewing-gum issue feeds into the Prime Minister's 'Respect Agenda' (which backbenchers, apparently, have a cruel habit of calling the 'Ali G agenda'). Blair, in some reports, stumbled upon this set of policies quite early in his political career when he opened his door in Islington one evening and found a man peeing up his neighbour's wall. It wasn't on, he thought. In the years since, this surprise encounter has hardened into legislation. A ministerial committee on respect is currently being convened. The chewing-gum pilot schemes, supported by the Clean Neighbourhoods Bill, are one aspect of this.

If this sounds a bit like government being led by the red ink of local newspaper letters pages, micro-attentive, that is exactly what it should sound like. 'People notice these things,' Bradshaw says. 'In the way that they do not, say, notice climate change, on a daily basis. They may think climate-change is serious but how imaginable is it in reality? But if your street is cleaned, if your bin is emptied, you notice immediately. It is not just that it is the right thing to do but also in terms of public perceptions these are important initiatives.'

Never slow to react to the idea of public perception, the government's gum policy has been quickened by the calls from some more militant councils, for a gum tax. In February, half-a-dozen city councils, led by Liverpool and Westminster, held a 'gum summit', where delegates signed a giant postcard that was delivered to Wrigley's head office in Plymouth. The card showed pictures of the cities involved with the words: 'Dear Wrigley's, wish you weren't here.' The gum lobby, fed up with lasering, scraping and water nozzles, was working on the principle that 'the polluter pays'.

Bradshaw sees this idea, of taxing Wrigley's a penny a pack to help out with cleaning pavements, as the 'Singapore route', penalising the multinational for the behaviour of the consumers (Lee Kwan Yew famously banned chewing gum in 1992 for the same reasons). 'It would be absurd,' he says. Instead, the government is looking at co-operation with the maker, at gum wardens and gum-dropping fines. 'Wrigley's has put considerable amounts of money to fund the three pilot schemes in three areas,' Bradshaw says. 'And the evidence is encouraging.'

Alan Bradley, a Westminster councillor and spokesman for the gum-taxers has little faith in wardens. 'It's ridiculous. How often do you spot someone in the act of dropping gum?'
A couple of days after I had seen Ben Bradshaw, I put Mr Bradley's question to the two employees of Maidstone City Council whose new job is to do just that.

Nick Harrison is an ex-policeman, and his right-hand man, Trevor Ford, is a former trainee in the environment department. They wear litter- warden uniforms, and have constant radio contact with the police. The key to successful gum-wardening, Nick explains, is not to walk purposefully, but to amble. In this way, they cover maybe eight miles a day.

In the six weeks that they have been patrolling the city's pedestrianised shopping area, with the back-up of 24-hour CCTV, so far Nick and Trevor have seen one man in the act of dropping gum. They threatened him with a £50 fine, though, in the end, they could not make the fine stick because it was not clear whether 'the target' had dropped his gum on public or private property.

In addition, they have issued 30 fines, one a day, for people dropping cigarette butts or sandwich packets. This relatively small return is either proof of Councillor Bradley's point, or, as Nick and Trevor suggest, evidence that their educative message is getting through.
There have been suggestions that chewing-gum and cigarette-butt fines might be used as a cash resource for the council. Maidstone has said that revenue raised would be swallowed by the annual £50,000 cost of employing the 'street-protection officers'. Trevor and Nick's primary responsibility as regards gum is to help distribute 'Stubbis', reusable plastic pouches, airtight and heat-resistant, in which cigarette ends and gum can be stowed. With the help of Laura and Sarah in a gum-information caravan in the precinct, they have given away 14,000 Stubbis and everyone has seemed positive. The only problem, Nick points out, in the fact that a number of people who have picked up one of the pouches have wandered off and dropped the cellophane packet in which the Stubbi is packed on to the street.

One of the problems with trying to stop antisocial behaviour, it seems, is that no sooner have you curtailed one nuisance than you have encouraged another. The outlawing of smoking has been so effective that many smokers have been turning in desperation to gum. As a result, Wrigley's sales figures advanced by 17 per cent in the first quarter of the year. This is the latest stage of expansion in the gum market that began a century ago and shows no sign of slowing.
Wrigley, which dominates the worldwide chewing-gum industry, was the initiative of one man.

If William Wrigley had been around today, he might well have qualified for an Asbo. He was expelled from school in Philadelphia aged 11 for throwing a pie at the nameplate over the entrance hall. He was subsequently sent to work in the family's soap factory, where he spent years stirring pots of boiling soap with a wooden paddle.

In 1891, aged 29, he arrived in Chicago with $32 in his pocket and a plan to sell soap and baking powder. A machine to produce chewing gum had been patented in America 20 years earlier by Thomas Adams, who had bought a consignment of a particular latex, chicle, from the Yucatán Peninsula in Mexico in order to make tyres, but found that chewing the stuff, as the Mayan Indians had done for centuries, might be more marketable. Wrigley thought mint-flavoured sticks of chicle gum might work well as a free gift with his soap powder.

Like all great empires, Wrigley's was built on a mixture of exploitation and myth; the exploitation was of the chicle farmers who lived as tied labour in the most desperate conditions, climbing trees with a haphazard system of ropes to tap the latex. The empire's myth came from Wrigley's marketing genius. 'Anyone can make gum,' Wrigley said. 'Selling it is the hard part.' In many ways, as Wrigley was among the first to understand, gum is the perfect consumer product. It is cheap, infinitely replicable and is a reliable conveyer of a minor, fleeting gratification. It is harmless, and mostly purposeless, so you can make it mean anything you want.

Like any good snake-oil salesman, he managed to link his product to health - it could calm nerves, relieve thirst, freshen breath and sharpen appetite - and to sex and celebrity: it was Wrigley who introduced baseball cards and who invested heavily in making his product assume a kind of rebellious glamour. He bought the first electric signs in Times Square. By the time of his death in 1932, Wrigley was one of the 10 wealthiest men in America; he had never raised the price of his gum, but had invested more than $100 million in the new concept of brand advertising.

His famously secretive company has stayed in the family ever since, and is now run in 180 countries by the fourth William Wrigley Jnr. Wrigley's world domination came in part from a very good war. Because of its thirst-relieving properties and because it was, as every council environment officer knows, virtually indestructible in extremes of heat or even submersion in water, gum was standard issue in every GI's rations; chicle became one of America's most significant wartime commodities and 150 billion sticks of gum were shipped out to boost the troops. The war was, also, the ideal export campaign for Wrigley's. The gum handed out by GIs across the world was often the first contact foreign populations had had with America and chewing became associated with the new freedoms and sexual possibility of pop culture.

Jo Hartop, head of communications for Wrigley's UK, and the company's representative on the Chewing Gum Action Group, still believes those values adhere to the gum, along with new, more health-conscious sugar-free associations that have brought five million new chewers to the British market. This latter group looks set to expand as the gum-maker explores the possibilities of gum as a potential 'delivery system' for all manner of pharmaceuticals, from aspirin to Viagra.

A more pressing challenge, though, is to respond to the demands of street cleaners and produce a biodegradable gum. Apparently, the world's great polymer scientists have been locked away for years in pursuit of this particular holy grail. I ask Jo Hartop how it's going. 'We are working on a less sticky gum base, but it's difficult, in that stickiness is what makes the product what it is. If we can't keep that chewiness in gum, then it ceases to be chewing gum.' So far, apparently, Wrigley has spent £5m trying to make a biodegradable gum, unsuccessfully (other attempts such as one announced by Bristol University last Friday, are a long way from being commercially viable).

If they thought it would help, Jo Hartop suggests, Wrigley's would even countenance going along with a chewing-gum clean-up tax, but all the evidence suggests it would be futile. 'What is coming out of the research is that people who drop gum mostly don't realise that they are littering.'

The Chewing Action Group spent £60,000 of tax-payers' money on a chewing gum segmentation survey, a 162-page report, based on 1,000 street interviews, which revealed how people chewed and why they spat. The survey identified five types of gum-droppers, and helpfully provided cartoon drawings of each of them. The 'Selfish Cleanser' at one end of the scale was typically a nicely groomed young woman who chewed because it freshened her breath.
Though she was revolted by the sight of other people's discarded gum, she would blithely spit her own out of her car window. The 'Bravado', meanwhile,was a young, male Sun reader who chewed his gum ostentatiously. The 'bravado' imagined it to be both big and clever to spit out the gum and kick it. And so on.

The expertise that Wrigley can bring to the action group, Hartop insists, is in communication. 'We are very good at educating people about our product. But gum-dropping is not just Wrigley's problem,' she insists, 'it is a wider problem in society.'

John Carey, Merton professor of English at Oxford, argued recently that, 'like fly-tippers, gum-spitters register themselves as a disaffected underclass with no share in communal aspirations. Our ruined education system is partly to blame, but so is the vast inequality of wealth we permit, which breeds despair'.

I was thinking about this - can we really blame gum-spitting on vast inequalities? - while following a sporadic bright trail of carefully painted gum blobs, each one a unique little work of art, along Barnet High Street in north London. At the end of the trail, I found Ben Wilson. Wilson is a wonderful, playful carver of wood. For the best part of the last year, however, he has devoted himself to painting painstaking miniatures on gum on pavements. His original plan was to make his trail run from his home in Barnet into the city centre, but, mostly, he has ended up working from 7.30am to 6pm in his local neighbourhoods. Wilson, 41, doesn't like to intellectualise what he does very much, but it's a political act as much as anything. 'In part, you are turning a thoughtless action into something positive,' he says. 'And, technically, it is not criminal damage, because you are painting the gum, not the pavement.' More than that, though, he believes local people like the continuity. 'It is important that I am here every day and people can see that I care about what I am doing.' He burns the gum first with a blow- torch, then adds a clear enamel, then colours, acrylic enamels. And, finally, a varnish, so you end up with a vivid, solid picture.

He has a large exercise book full of backlogged requests for designs, which he flips through. Local kids and grandmothers ask him to do particular designs; he commemorates, on gum, births and deaths, young love and marriages. 'You will get a gang of kids; one of them wants to do a picture, something personal to them. I've got to know a lot of the taggers, the graffiti writers, and they understand it all immediately.'

Wilson's take on what leads to the disaffection implicit in gum-dropping is somewhat different from John Carey's.

'Kids are not allowed to feel any connection with where they live,' he says. 'They can't play in the streets because they are likely to get run over; then you have the national curriculum, and all this testing at school, and no opportunity to play or to make things, and everything you do outside is recorded on surveillance cameras. The only imagery that children see around them are billboards and TV; every part of their environment is out of bounds or sold off. That's why they don't care about their streets. This is a small way of connecting people.'

Wilson laughs at the idea of fines. The government should be thinking about the causes of antisocial behaviour, not posturing about fining kids. 'At a time when you have a government labelling all young people as yob culture, I think it is important to try to give people a voice. It is such a destructive definition. If you get to know young people, you realise they are all individual. They all can find their own creativity. My paintings are a way of reflecting people back to themselves.'

Wilson was arrested recently in Trafalgar Square for doing a careful miniature of Nelson and Hardy on a piece of gum. 'The police tried to stop me and I jumped up on a stage that was there and said I was being arrested for painting chewing gum. The police were all after me, eight of them scaling this podium. They got these handcuffs on me.' He was put in the back of a van, fingerprinted, photographed, DNA-tested. They held and questioned him for three or four hours.

I wondered if he imagined he might be starting a movement, a trend, and that all the dropped gum will one day not be scraped up or left greying but transformed into vibrant life.
'It could go any way,' he says. 'I like the quietness of what I have done. If people want to start doing things on a local scale, it could be fun. It might even be beautiful.' He laughs. From quite early on, he says he has had advertisers approaching him, wondering if he would do product endorsements on the gum. 'The kids look out for them, you see, and the advertisers love that.

Those people get everywhere.'

Saturday, July 02, 2005

The Go-Betweens

I'm not sure if i can put my finger on it exactly, nor into words exactly, to describe the kind of pop sensibility that's flowing thru the airwaves at the moment, but there seems to a particular, select group of bands getting phenomenal amounts of airplay on Seattle college radio. There is one particular thread that spins thru a number, but not all, of the bands, and I strongly hesitate to use the phrase because it seems to mean so many different things, both good and bad these days, but I think an 'alternative country' feel, or at the very least, influence, pervades in this sound, with a heavy focus on tightly written, sung and performed story-based songs with a laid-back and mellow feel. They also have some sort of emotion behind them. I know that's a very loose and rambling description, but as a KEXP DJ wrote to me when I asked her opinion for this piece, "It's like asking someone to describe sex. Sure you can try, but until you feel it or with music, hear it, it's almost impossible".

Anyway, among bands that I've recently discovered, recently re-discovered or have been a fan of for years, which fall into this particular strong song-writing pop sensibilty, and am I'm liking at the moment include The Mountain Goats, Okkervil River, The Flaming Lips, The Decemberists, The Lucksmiths, The Postal Service, Mike Doughty (formerly of Soul Coughing), Devin Davis, My Morning Jacket, The Eels, Death Cab For Cutie, Wilco, The Sleepy Jackson, The Wedding Present, The Dears, and Elliott Smith.

In any event, nearly all of these bands tend to operate on fairly independant level, either releasing work on thier own labels, or on very low-key, low budget small record labels. I don't think any of them are contracted to a major label or get much, if any airplay on yer standard generic commercial radio station. This is also another common thread - it seems that any kind of band with any level of integrity and credibility, that follows this particular path, well, that seems to flow thru to their music, they write songs that have strength, character, and a real feeling of warmth in them. They write songs that have some purpose and meaning, the plaintive singing, intelligent lyrics, and sparse instrumentation with a good narrative in an understated manner really strive to get a message of some sort across. They also most definitely have a less 'throwaway or disposable' feel about them, like these songs will stand up to the tests of time, the stories being told emoting more to the listener than any of the vacuous crap being dished out on commercial radio.

Among these is Melbourne band The Go-Betweens.

This band had a reasonable level of success in Australia in the 80's and i think early 90's before calling it a day, and have reformed in recent times, releasing a new album on which they are promoting on tour thru the States. I never really paid much attention to them way back then, but I most certainly as now. This band have a sound that's, how do I put it, more along the adult-oriented rock scope (but that makes it sound like a bad thing, whereas they're actually not). They're also getting a truckload of airplay on KEXP, which is what basically prompted this blog entry. They were always kinda sorta on my musical radar growing up as a kid, but were probably (definitely, actually) a bit mature for my teenage ears to wrap around at the time, And this time round, they've kinda come in from left field in my musical awareness, but very much in a positive way. The way the DJ's rap about them made me realise just how much respect and adoration they've gained in this part of the world that I was totally was never aware of in the past. . And, to be honest, I think it goes back to that style of song writing i ranted on about that has enabled them to come back and reform and be as successful as they have second time around. The American market is so fickle, and for them to be able to pick up where they left off is a testament to them as a band.

So, after discovering them on their second go on the musical merry-go-round myself, I highly encourage you to check 'em out for yourself. (www.go-betweens.net)