THE BEST BEFORE DATE - 1984 - To Hell With Poverty by Gang of Four

I saw the Gang of Four when I was a student in Leeds, in a club space above the Merrion Centre on a double bill with The Mekons. They were at this point still borrowing The Mekon's drummer to complete their line up. Both bands had attitude, though a little shambolic Gang of Four had a stridency which put them a cut above the rest. Word was getting around about them in Leeds as a band to watch out for. 

Unapologetically political they managed to meld radical uncompromising music to match it. All without it getting too worthy or preachy. They had two things in their favour, an unerring ear for a catchy riff or song and the wailing noise guitar playing style of Andy Gill. Both of these evident on To Hell With Poverty.

Five years on from their debut album Entertainment, To Hell with Poverty launched a move away from the stripped back post punk they'd been known for since they'd formed in 1976. Andy Gill is still the fulcrum of cacophony at its centre with his chainsaw guitar announcing a ferocious explosion of controlled feedback from the very beginning, which, as ever, is broken into by this thumping great rhythm, which has been poorly described as disco punk. But there was in this new direction still an avante guarde abrasiveness, politically punchy, with a danceable quality they'd not previously been known for before. There is a dissolute feeling for when there is nothing left of value, all there is to do is 'get drunk on cheap wine'  Yep, I've known that feeling.

 

THE BEST BEFORE DATE - 1979 - Love Like Anthrax by Gang of Four

With their 1979 debut Entertainment Gang of Four released an album of material they'd honed and polished from years of pub gigs in the backstreets of Leeds and beyond. If any band captured the Zeitgeist of post punk's political activism Gang of Four were it. In Thatcher's Britain the lack of any effective political opposition ( remind you of anything| now) meant progressive activism moved outside parliament and fell on the shoulders of contemporary music culture. Gang of Four were the most clearly left wing of the lot, flying the red flag for socialism high. I can't imagine few bands would do so these days. But one has to remember the collapse of the USSR was still over ten years away and such idealistic political puritanism was still possible in the late 70's. Their stridency in this regard produces on Entertainment a clear and consistent musical statement. It is quite rightly still rated as one of the best releases of the post punk era. 

The sound stripped back and sparse, is built around the axe slaying of the late great Andy Gill. Love Like Anthrax concludes Entertainment with such a cool insouciance. A type of dry minimalism permeates it that utterly captures ones attention from the start. The highly amped nature of Gill's guitar playing means it forever teeters on the edge of surrendering itself up to the most glorious of feedback noise. Love Like Anthrax begins, as many of Gang of Four's best tracks do, with the electric buzz and crackling of Gill's guitar into which the drums later pound in, imposing structural discipline. That all this sonic free form sturm und drang is going to be put to good use. But having woken us up with this wall of despairing racket, we then get deadpan vocals and an echoing voice running at cross purposes with each other. Interspersed with cultural analysis, this is that rare species the anti- love song with a commentary running through it.

Woke up , desperation AM,
(Love crops up a lot as something to sing about, because most groups)
What I've been saying won't say them again,
(make most of their songs about falling in love,or how happy they are)
My heads not empty its full with my brain
( to be in love - you occasionally wonder why these groups)
The thoughts I 'm thinking, like piss down a drain
(do sing about it all the time, piss down the drain)

As you can imagine, though Gang of Four were more than capable of being catchy songwriters, this clever juxtaposition of song with reflexive contextual analysis was not to everyone's cuppa tea. Combined with their consistently abrasive approach to music making, this meant their singles never broke into the top 50 and their highest album chart position was with Entertainment at number 45. But Love Like Anthrax remains this beautiful well mounted pearl of a thing to listen to.

ARTICLE - That Bill and Frank Moment

Finally, after much badgering / encouragement from friends we recently began watching The Last of Us.  I viewed Episodes 1 & 2 somewhat nonplussed. I didn't quite get why this high budget twist on the 'zombies take over the world' theme, had garnered such rapturous praise. This was not breaking much new ground so far as I could see. Until I watched Episode 3 and that Bill and Frank moment. 

( Spoiler Alert - I am about to talk about the story line in detail )

Bill and Frank had previous mentions in conversations between Joel and Tess. Before sacrificing herself to the wheat germ infected mob at the end of Episode 2, Tess urges Joel to take Ellie to Bill and Frank's. They'll know what to do, where to go next. During Episode 3 we are taken quite a few years into the past to be given some back story.  A small town has been cleared of uninfected inhabitants. Bill, managing to hide himself away, remains, and then turns the now empty town into a one man fortress compound. One day Frank falls into one of Bill's covered pits, the one's meant to deter and keep folk out. But somehow Frank convinces Bill into allowing him not just to take a shower, but to cook him a meal, then to stay a while.  Frank seems to understand intuitively who and what Bill is, and how to soften that hard won defensive exterior. Before Frank, Bill's life had no meaning, he hated other people. It was easier to barricade his lonely life against intruders, unfortunately this also meant his life was loveless. Frank offers him love and Bill welcomes it. That love between them deepening over the subsequent decades together. This is all shown to us in a beautifully understated, tender and masculine manner.

Handled in this very ordinary matter of fact way, it is a gay relationship, but it could just as easily be a straight one. These are just two very matter of fact guys, not effeminate, nor exhibiting any of the usual 'gay tropes' or cliches film makers often succumb to when portraying gay men.  Frank and Bill are simply two very ordinary men who love each other. As he gets older Frank develops a debilitating condition that confines him to a wheel chair. Bill becomes his carer and does pretty much everything for him. One morning Bill awakens to find Frank has dragged himself up and is already sitting in his chair. He tells Bill that today will be his last day.  There was no cure for what he has, even before the wheat germ plague arrived. He wants Bill to help him put an end to his increasingly difficult life. 

And so the story line opens out from the specifics of how their love relationship came into being. Taking us into the more emotionally torn territory of assisted suicide. Set against more universal feelings surrounding the decline and death of a loved one. At this point I am already plunged deep into emotionally wrecked territory. This is everyone's unspoken fear in any relationship - who will die first? - which one of us will be left behind? - what if the only way to alleviate the person you love's suffering is to help them die, to actively take part in the loosing of them? Who would voluntarily chose to be the one left alone? But Frank has decided to answer those questions not just for himself, but for Bill too. But Bill does not want to be left behind. Frank gave him something to fight for, as well as against. Without him there is nothing, just a meaningless struggle.

So the story starts to touch on themes and feelings that are close to everyone. Yes, it was a TV moment in how a gay relationship can be presented. But through its humbleness and decision to make it so universal and ordinary, it became incredibly potent. This was simply two human beings who loved each other, taking control over the moment of their death, of their parting from each other. Most couples are torn apart by the moment of death, often preceded by a protracted illness or a decline. But the sudden unexpected eruption of mortality tends to take everyone by surprise. No one prepares for that, even though everyone knows it will happen someday.  Few could face it straight on in the way Bill and Frank do.

Bill doesn't want to return to the life he had before Frank arrived. And I don't think I would either. Even though I know it is a possibility, I am frightened by the idea of living without my Husband. The sense of the loneliness looms large. As the older of the two of us by a couple of the decades, it is more than likely to be me who dies first, but that is not a certainty.  I worry about things I'll have no control over. How my Husband will cope emotionally. Whenever I venture to this place in my imagination, to reach for the point of my death, I touch also on a deep up welling of sorrow. I'll be leaving not just my Husband, but life itself behind. Existentially this is not an easy place to inhabit, but to have the courage of Bill and Frank to take control and manage it? Maybe you'd have to reach that point in order to find out if you could. Euthanasia is of course not currently legal in the UK. But I guess in the world imagined for Bill and Frank, legality is no longer a concern, there is no law to be enforced anymore in this decimated future. They are free to choose to do what they think is for the best in that moment. If I was in their situation, what would I choose to do?

What a rare thing this was, a terrific piece of emotionally impactful, meaningful TV.

FEATURE - De Hoeve Old Belgian Farm Renovation

As you may already know, I'm quite fond of watching paintings being restored. I get offered videos on You Tube of other restoration projects because of it. Mainly its the type where they restore old rusted irons or knackered cabinets. But a few months back it came up with Dr Hoeve - Old Belgian Farmhouse Restoration. 

Marina and Illia, are an Ukrainian couple living in the De Hoeve area of Belgium. They've pored all there life savings into buying this wreck of an old farmhouse, which means they have to do all the renovation work themselves. And boy do they work hard, long evenings and weekends. Some days they both look so tired. Most of their speeded up time lapse videos show one, or both of them chiseling plaster off walls, sweeping up the detritus into barrows and wheeling it away. Or the endless drudgery of digging out floors, in order to lay concrete. Illia is a loveable character with his - Let's do it - catchphrase, and insisting he is 'debuilding' not demolishing, because they save all the good quality bricks, tiles etc for future use. This project has a number of phases, they are currently in their second year of working on it. They imagine it may take them 6-10 years to fully complete. There is always Annika - The Cat Inspector, to keep them on track, as she manages to find a way to get into all the videos.

At the moment they are working on converting an old milk shed into a small flat. Because they have to be actually living on the site within three years, or they may lose their planning consent. They have two young children and were living in a rented house, with a large caravan on site. What their daytime work is and how they support themselves is not apparent. They do have a growing list on Patreon. And now they have over 100,000 subscribers they are also acquiring sponsorships. 

As Illia cheekily says to camera 'like and subscribe' 

CAVE NOTES - The Search Is the Religious Experience

'I have also come to see that maybe the search is the religious experience - the desire to believe and the longing for meaning, the moving towards the ineffable. Maybe that is what is essentially important, despite the absurdity of it. Or, indeed, because of the absurdity of it. When it comes down to it, maybe faith is just a decision like any other. And perhaps God is the search itself.'

'The rigid  and self-righteous certainty of some religious people - and some atheists, for that matter - is something I find disagreeable. The hubris of it. The sanctimoniousness. It leaves me cold. The more overtly unshakeable someone's beliefs are, the more diminished they seem to become, because they have stopped questioning, and the not questioning can sometimes be accompanied by an attitude of moral superiority. The belligerent dogmatism of the current cultural moment is a case in point. A bit of humility wouldn't go astray.'

'Sadly, organised religion can be atheisim's greatest gift.'

'I think of late I've grown increasingly impatient  with my own scepticism; it feels obtuse and counter productive, something that's simply standing in the way of a better-lived life. I feel it would be good for me to get beyond it. I think I would be happier if I stopped window shopping and just stepped through the door.'

Extracts taken from Faith, Hope & Carnage,
conversations between Nick Cave & Sean O'Hagan 
Published by Canongate 2022

FILM CLUB - 49th Parallel - One Of Our Aircraft Is Missing

Powell & Pressburger Season

With each new movie released P & P gained further confidence as film makers. Storylines became more adventurous in not following conventions. Until with One of Our Aircraft is Missing they created the effect of watching something happen in time, without any over arching storyline, or romantic interest crowbarred into it.

49th Parallel - 1941
At the beginning of WW2 there was huge concern over German U boat activity cutting the UK's supply lines in the Atlantic. So here we have another film beginning with a German submarine U37  destroying a supply ship hide in the Hudson Bay area. The Canadian air force finds them and destroys the sub. Though five Germans have already been sent out on a mission. The film follows their journey trying to reach and cross the 49th Parallel into the US in order to escape capture and internment. Powell and Pressburger use this simple narrative journey to juxtapose differing views of belief, conviction and freedom, between democracies and authoritarianism.

Finley Currie, Raymond Massey, Trevor Howard, Eric Portman, the inestimable Anton Walbrook and Glynis John in only her fourth film, they're all here. And then there's Laurence Olivier with a frankly bizzare beast of a French Canadian accent. This, along with his tendency to wildly overact, almost unbalances the the early parts of the movie. Fortunately the relaxed easy style of the likes of Portman, Walbrook and Howard, act as an anchor and balances the production. Stylistically Powell made the most of the background drama of the Canadian landscape itself. The beautifully expressionistic camera work by Freddie Young, is smartly edited by David Lean, later to be an acclaimed filmmaker himself.

One of Our Aircraft is Missing - 1942
The first Powell and Pressburger film made under The Archers production company. And you can tell, there is a distinct qualitative difference in style and approach to the three wartime films that preceded it. No longer composed like a filmed play, One of our Aircraft is Missing is a fully fledged film experience. Everything is done to appear as if though its happening in real time. There is no melodramatic music at any point in the movie. Its mostly a film that relies on incidental sound for its heightened drama. The film follows what happens to a plane crew that crashes in Nazi occupied Netherlands. Showing you how they escape with the help of the Dutch underground network, led by brave women such as Else Meertens ( Pamela Brown ) and Jo de Vries (Googie Withers)   

The aircraft bombing raid of Stuttgard is realistically filmed, giving you a vivid sense of what it was like cooped up in a small aircraft on such a dangerous raid. The realism also extends to the acting, which is quite ordinary, downplayed and believable. We have an impression, these days,that the RAF was full of upper class airmen, but that is because most movies about the RAF are stuffed with actors with posh accents. In actuality they only accounted for 30%, the rest being drawn from all areas and levels of society. P & P get that balance right here, with Suffolk, Yorkshire and Welsh accents to be heard just in the one plane crew. Many stalwarts of P & P films are here Eric Portman sporting his real Halifax accent, Bernard Miles, Hugh Williams and a very young Peter Ustinov in his first film role. One of Our Aircraft is Missing is by far and away the best made and performed wartime film, not succumbing to broad caricature or overtly propagandizing. Its a deceptively simple human movie about bravery and camaraderie in a perilous situation. But it's also a great one/ It also marks the true beginning of  Powell & Pressburger's golden era.

WINDOW VIEWS - Murder as a Cultural Reference

Given time I thought, things are bound to pick up, they'll improve.  I was mistaken. And not just in my mind. It was a commonly held notion, that we would always be going someplace, heading somewhere, reaching for where ever more of more was to be found. It never remotely crossed anyone's mind that civilisation might go into reverse, and could do so rapidly. Decline was more than feasible. But to lose our entire grasp on economic progress and decent civility? Impulses became coarsened, natures turned unfiltered, the raw and the prejudicial began to rule. To permeate everything and everyone with an authoritarian stridency. I tried to tell myself that I would not, could not, respond in such a way. That such a regressive change may indeed be happening, but not to me. 

Yet I too harboured intolerant, murderous feelings. I thought badly of my neighbours without good cause, even loathed my closest oldest friends, was highly judgemental of family members. If anything, how I was, well this was way worse, simply because I affected a surface facade, that not an ounce of malign prejudice was there. Until of course it was, very much there. Fully formed and vicious. When I acted, I acted with an unearned impunity, a lack of remorse, brutal in intent. Too late now, as it was then, for regret. The worst cruelty was in my cold heartedness, indifferent to any opprobrium of my killing spree. For goodness sake, I took the time to chalk a white line around the slaughtered bodies of my victims. Circled, numbered and named the important clues. I meant it as a joke, a knowing reference to the cliches of detective fiction. But what does that tell you? Murder had become just a cultural reference for me. I wanted to take an active part not just in the crime, but in its discovery and the catching of the perpetrator, that was me.  I wanted to be in charge of how this whole storyline was framed and unfolded. From the puritanical vigilante finally purging society of its self evident delinquents and defective minds. To the inevitability of the detective catching and putting me away for a very long time. Posting photos on social media standing by corpses grinning with the pleasure and infamy of it all.

I ended up here, in this sparse miniscule room, with a sink, a bed, a bucket to shit and pee in. My creature comforts. The only view an obstructed one of the roofs of the prison block opposite, through a window striped with iron bars. I scrawl on the wall feelings of injustice, so defiant am I not to be ignored in my ignominy.  I wanted my public fame to continue.  Speedily removed from general society and my phone. I was incarcerated here in the hope of minimising copycat murders. When the riots kicked off, they didn't happen in the prison, but erupted in the ordinary streets and houses of suburbia. The days of middle class reserve and politely modulated dissent suddenly collapsed. There was a war on for food, heat, resources, general survival going on. Our prison guards left in a hurry, in order to barricade and defend their homes, never to return. Leaving myself, and a handful of others, boxes of Snickers bars and tap water to survive on, til both of those ran dry. One day, very soon, I'll go to sleep, never to reawaken. Maybe it's for the best they didn't leave the keys. For who knows what further atrocity a middle aged hedge fund manager might perpetrate, as it all comes tumbling down.

GNOSTIC OPTICS - He Who Has No Root

'He who has no root has no shoot,
and although he imagines
he has come into existence,
he will cease.
For he who doesn't truly exist
can never come into fullness
of flawless Being.

How then did he regard himself?
As one who comes into existence
like night-time shadows and ghosts.

But when the Light shines on his fright
he sees that he is as nothing.'

Taken from The Gospel of Truth
Translated by Alan Jacobs
Published by Watkins Media Ltd 2006

THE BEST BEFORE DATE - 1978 - I Can't Stand Myself - James Chance & The Contortions

James Chance & The Contortions emerged from the late 70's No Wave scene in New York, the US version of post punk. Out of it came some interesting hybrids - The Swans, Lydia Lunch, The Lounge Lizards, DNA, Teenage Jesus & The Jerks, Theoretical Girls to name a few of note. Brian Eno was brought in to produce a compilation album in 1978 to capture the nascent flowers of this moment, before they succumbed to the short livedness of their own trash aesthetic. For most of these bands operated on a fatal cutting edge. An art infused wallowing in the primal joy of dissonance and screaming into a microphone as a vocal style.

And so that brings us to Mr James Chance, channelling a mutated form of James Brown, with a voice ravaged by too much coarse cut hand rolled nicotine. He was never going to be a poster boy in a teenagers bedroom. Because this was a musical career that had car crash written all over it. To say I Can't Stand Myself is edgy punk funk would be to understate what is really going on here. This man is audibly on self destruct, pushing himself right over a wall topped with inserts of cut glass. Then picking his bloody form off the floor gives you the most blistering siren of a saxophone solo. As if imitating the death wail of a goose being strangled.  The sound captured here has intensity and excitement in every disheveled groove. With a virus of tawdry sex running through it. Its punk mixed with jazz cocktail, lethally exploding in the gutter.

James Chance, despite all the opportunities he's no doubt given himself to abuse his body to death, is alive and still working at the age of 70. Most of his output from the 1970's onwards has been live albums. These perhaps best capture the febrile nervy wired beast that is him. A man quite happy to be forgotten on the fringes of popular music, because that is where he's been able to do what the hell he liked, to the hilt.

LISTENING TO - Squid

Originally Brighton based they now hang out in Bristol, the streets of which feature in one of these videos. I originally came across Squid during the pandemic during my early Post Rock explorations. Squid are, along with Black Country New Road a favourite of the band from then. They are a much more sophisticated version of Black Midi and, thankfully, far less arche. They too have wildly veering time signatures and stylistic variances that they blend together with finese, exhileratingly well. Their lead singer and drummer Ollie Judge has completely mastered the half spoken half screamed vocalism of James Chance, but better controlled and modulated. In less proximity to the edge of insanity. Their first album Bright Green Fields was really good. The best of many fabulous tracks is Peel St which opens this session for KEXP which demonstrates just how tight they are in live performance.

Their second album O Monolith is due out at the beginning of June. As is the case these days single tracks are being posted on You Tube as a taster. So far its been Swing (In a Dream) and the latest this week Undergrowth. These reveal a continuing dexterity in the handling and melding of their unique style, so bodes well for the full album when it finally lands. These two tracks are pretty excellent.

FILM CLUB - The Spy In Black - Contraband

Powell & Pressburger Season
Powell and Pressburger launched their movie partnership during the war. Brought  together by Alexander Korda in 1939. They went on to make eight wartime themed movies finishing with A Matter of Life & Death in 1946. Their wartime films took on the tricky task of producing intelligent impactful films that both were and were not wartime propaganda. What links them visually as movies is the boundaries between black and white are frequently dramatically sharp. Figures often emerging in or out of theatrical shadows into patchy shafts of light. A metaphor perhaps for the fascist menace then darkening European liberty.

The Spy In Black - 1939

Its WW1 and 1917, a German U boat is sent on a special mission to Scapa Flow to blow up some of the British fleet. They are lead by charmingly debonair Captain Hardt ( Conrad Veidt ) He is to rendezvous with a German spy who is doubling as a teacher on the island - Anne Burnett ( Valerie Hobson). A tightly written script keeps you in the dark about what is really going on, with lots of double bluffs going on. It daringly shows you most of the operation entirely from the German point of view. Made at the beginning of the WW2, The Spy in Black cleverly echoes an incident at the end of the last war, everyone at the time would know of. The entire German High Seas Fleet having been scuttled at Scapa Flow in June 1919. It also features the first appearance in a Powell & Pressburger film of Marius Goring.

Contraband -1940

With the success of The Spy in Black, Powell and Pressburg's next film stuck with the same central actors, Veidt and Hobson. Whereas the romantic inclination had been hinted at in its predecessor, here it is allowed to fully blossom. The only thing standing in its way is that Conrad Veidt is far too old to play the dashing romantic lead. Also there is zero chemistry between them. Veidt's accent is so clearly German, that him pretending to be Danish stretches credibility. There is a theatrical stageiness about these early P & P films, formed around a particular dramatically structured format. There are early indications though of their future films, in the diversity of types of voices you hear. You get a broader picture painted of wartime London through the fleeting presence of noticeably working class characters.

Contraband pivots around the character of Captain Anderson (Conrad Veidt), in charge of a boat crossing the Atlantic. Carrying both passengers and cargo. Acting on a tip off the Royal Navy intercept to check it for contraband. Pulled into dock while the manifest is checked, two passes are issued so the Captain and his second in command can go onshore. These passes get stolen by two passengers, one of whomever is Mrs Sorenson (Valerie Hobson). The Captain sets off in pursuit of them, becoming embroiled in espionage and Nazi sympathisers in the UK. 

Of their early wartime films this is probably the weakest, with a clunky storyline that never quite convinces. Nonetheless Powell & Pressburger are beginning to establish a production team of people they will work with repeatedly, here they use the superb cinematographer Freddie Young for the first time.

FINISHED READING - Scattered All Over The Earth by Yoko Tawada

In a gentle dystopian future entire countries disappear, Japan has vanished into the sea. How this has happened, it does not tell you. Hiruko is, however, a refugee, a survivor working and living in Denmark. She still longs to meet a fellow countryman or woman. To speak her own language once more. In the meantime she speaks Panksa a hybrid abbreviated language she's made up.

We are introduced to a number of characters all of whom are dispossessed, or misaligned in someway. A general air of dislocation permeates what is left of the world, which tries to carry on as if nothing has really changed at all. Meanwhile lost cultures, in an attempt to keep them alive, are being misremembered or reduced to a travesty of their original meaning or purpose. A bit like Chinese Whispers the further they are away from a lived way of being, the more it diverts from cultural fidelity.

There is Tenzo/Nanook, in reality a man born in Greenland, who by some quirk of fate, and conscious misrepresentation, has become a renowned sushi chef in Norway. His Eskimo features being mistaken for Japanese. Though the name Eskimo itself could be construed as an insult, he prefers it to Inuit, which is a specific tribe he doesn't belong to. So he finds himself constantly perpetrating a fictitious persona on one level or another.

Akash, originates from India. Once a boy, but now lives in Denmark as a woman. Living very much on her street wise wits in order to survive. Afraid of being discovered for who she is or was, and thrown out of the country. Indian food in Denmark has in one restaurant become an odd fusion of Indian and Italian, producing Lotus Pizzas etc. Eventually these two characters encounter Hiruko, and they set off on a mission to locate another person, reputedly a surviving Japanese speaker - Susanoo.

Like many a contemporary Japanese writer Yoko Tamara wears her authorial eccentricities lightly. This maybe a translation issue, but modern Japanese authors have a slightly plain, if not bland character to their writing style. There is little by way of an authors presence. It is all in the content, the story. Similar to traditional Japanese block printing that has a flattened picture plane, however richly decoratived. Devoid of perspective or depth, its all about a play of shapes and patterns moving across a surface. 

Yet beneath this stories emotional coolness, the context of it, is an exterior world, a civilisation that is in crisis. Its soft cheerfully undramatic nature explores what the nature of identity is, and how language relates to it. How much can we artificially tangle our sense of ourselves up in the nationalism of a specific place and the language spoken there? What we see as our identity is often quite arbitrary and  changeable. What happens to cultural authenticity when it no longer has a homeland? How then do we present our sense of our selves to the world, when we become dispossessed?. Its a book which obviously has a lot to say, and does so delicately and entertainingly. But it can, at times, be a bit devoid of feeling and passion, which I found tested my engagement. I wanted more emotionally from it, each time it successfully repressed its own expressive range. Ah! those Japanese.

CARROT REVIEW - 5/8

LISTENING TO - Veronica Lake by Sparks

In the drip feeding of tracks from their new album due at the end of May, we are served this beautifully tempting morsel. Veronica Lake reveals another facet of this new albums soundscape, a subtly stripped back aesthetic. Here we are presented with the merest whisper of a background rhythm, over which Russ sings a song about a wartime manufacturer opining over the bad influence of Veronica Lake's peek-a-boo-y hair style on safety and productivity. Veronica Lake did indeed tour the US in a war time awareness campaign about women's long hair being caught in machinery. Brilliantly simple satirical wit as ever.

SHERINGHAM DIARY No 82 - Pending Spring

This second week of the Easter holidays has been challenging. We were set to open for our first Monday of 2023, but torrential rain meant that never happened. The rest of the week trade swung about like a pendulum. One quite good day followed by a day where we struggled to take literally a tenth of that amount, followed by another good day, then a bad, then an OK considering. In terms of our emotional engagement its been exhausting. 

The week after Easter has been a slightly better week than its predecessor. The weather has been sunnier, but often pretty cold in the persistent East to North Easterly winds we've been enduring for some weeks now. If only they would drop a way we'd probably feel like spring was actually here, rather than pending.

On Sunday, to change the energy, we took ourselves over to Aylsham, for a Mind Body & Spirit Fayre and a walk to Blickling Hall. The Fay-re had a scattering of  readers of palms, tarot , crystal or paint splodges. Mostly middle aged  psychic ladies dressed in voluminous florid maxi dress concoctions. Plus a gong bath, which looked like a huge babies play pen. The band, one presumed, were out the back having a crafty fag whilst we were visiting. Surrounded by the worst sort of tenuously related handmade alternative tat. Rank smelling soaps, signs and stuff made out of resin, hyper expensive crystals, bees wax candles, a stall pushing Slimmers World, and a guy boasting about becoming some sort of gold four star level gong bather supremo. It was either fraudulent or self deceiving, but either way a blatant rip off. We left with a deep sense of distaste for how unethical it all was. At least entry was free, as was leaving.

The walk to Blickling followed part of the Weavers Way, crossing at diagonals across wheat fields and bisecting neatly in half fields of rapeseed, but it was a nice way to approach the Hall. Once there, it was coffee and cake, then an instructive visit to a exhibition of various eras of printing machines. Checked out the second hand bookstore, where nothing grabbed my attention. 

We went upstairs to view the Creative Creations Craft Fair on the floors above the National Trust shop. We've seen this craft selection there many times and it is always an intensely annoying, if not dispiriting, experience. So many craft makers selling blousy country floral appliqué home ware bla bla bla. Plus the sort of thing that confuses novelty with originality, usually involving making lamps out of unusual things, such as cameras or brass musical instruments. To which I respond by saying - there's a good reason why we've never seen this before - most folk, if they thought of it at all, thought again. This time it also contained the ugliest standard lamp shades I have ever seen in all my born days. I couldn't for the life of me imagine what sort of interior they might suit, but maybe its the gothic boudoir of a drag artist who specialises in Bette Davis - Baby Jane impressions.