Oh dear. I've failed a credit check. Embracing modernity in an alarming act of spontaneity, I was attempting to upgrade my mobile phone from prehistoric and expensive pay-as-you-go to uber-modern and ultra-cheap smartphone contract. But no. I am officially unworthy. Oh the look in the shop-assistant's eyes as he broke the news. All the superficial smiles and apologetic platitudes of the training manual couldn't mask it. 'You dirty hippy. Go back to your crack den you sponging loser.'
Now much as I hate to shatter the image of myself as a fast-living, devil-may-care, shoot-from-the-hip kind of guy, I've always been rather prudent with money. That's possibly because, like most of the musicians and artists I know, I don't have much, so bean-counting has always been just part of life, a valuable lesson learned during my dole-days (who says doleys are feckless?). But I also have my grandfather's stern admonition ringing in my ears: 'look after the pennies and the pounds will look after themselves.' You can imagine, therefore, my reaction to the news. Indignation. Humiliation. Embarrassment. Rage.
Now, following a bit of digging it turns out that the reason I failed the check is almost certainly that my address can be given in different formats. There's no agreed convention for writing a house/flat combination. I gave it one way; my bank has it another. For some reason, the bank seems wholly uninterested in my flat number and, indeed, can find no way to type it into their database. Believe me, I've tried. So I've been shut out of a system, been denied my consumer choice (about which I care little) and the opportunity to halve my mobile phone bill (about which I care rather a lot) because a computer is unable to recognise that Flat X/House Y/Street Z is the same as House Y/Street Z. Genius. Actually the consequences are a little more serious than that: fail too many credit checks and you'll find you're denied a mortgage or a bank loan.
I'm reminded of Terry Gilliam's oh-so-prescient dystopia, Brazil. A fly jams a printer resulting in the mistaken arrest, torture and death-during-interrogation of one Mr Archibald Buttle. They meant, of course, to arrest Mr Archibald Tuttle. Tsk! Silly mistake.
My credit check was performed by a company called Equifax. As I understand it I probably do have a right of appeal, but finding out how I go about it, or indeed exactly why I failed the check, seems inordinately difficult to do: their website is labyrinth-like and has a nasty habit of returning you right back where you started. What's more, you have to pay for the privilege. It's a serious disincentive and one that's very bad for the blood-pressure.
In my grandfather's day credit checks were done by a bank manager. A person. Some who knew you. Someone with whom you had a relationship. Someone who could tell whether you were lying or not. Someone with whom you could remonstrate or plead.
Now we have franchised human relationships to a machine, to a brittle algorithm, such that there is very little comeback if the programme's logic gates find you unworthy: the fault must necessarily be yours. The inexorable logic of capitalism, the ceaseless need to cut costs, to minimise losses and to rationalise, drives these systems but they in turn have become a subtle yet powerful means of coercion and social control. I don't remember voting about this. It's just snuck up on us, like letting agents. How the hell did a private company acquire so much control over my life?
It's probably fine if you lead an ordinary existence with a predictable income, predictable outgoings, a mortgage and a suit. But what about people who live on narrowboats or trucks, on smallholdings or in off-grid ecobuilds and don't therefore have an address as such? What about those 'fools by heavenly compulsion' who are driven to try and live on the fringes so they have time and space to create? With no credit-footprint to speak of are they to become a caste of non-people? Perhaps it's already happened. Perhaps it's all part of a policy to turn us all into good little consumers, to Tuttle the Buttles.
Whatever, and forgive the pun, if anyone can tell me how to make a rebuttal, I'd love to know. As I understand it, one of the best ways to boost your credit rating is to get into debt (the very thing I have so assiduously avoided) and show that you can pay it off responsibly. The world's gone mad. I'm glad my grandfather isn't here to see it.
Thursday, 28 February 2013
Friday, 22 February 2013
Huldufolk
Here's a fascinating 2006 documentary about contemporary Icelandic belief in elves, or Huldufolk (hidden people). I'd heard the stories about roads being diverted round rocks because elves lived there - turns out it's true. Watch the full movie here, trailer below. Thanks to Chas Clifton for sharing. Great soundtrack too.
Spot the duduk
I was teaching Edward Said's Orientalism last week (as you do) and as I was writing my lecture it occurred to me that the duduk provided the perfect example to illustrate Said's argument.
For those less obsessed with the obscure reed instruments of the world, the duduk is a recorder-sized wind instrument characterised by its fat double reed and mournful sound, that's found across Eastern Europe, the Middle East, and Asia. It's typically made of apricot wood and goes by many names such as balaban and mey. In Kurdistan it has an arid, almost waspish sound:
But the form of the instrument with which we in the West are most familiar comes from Christian Armenia. Here it is traditional for one or two players to hold a drone, using circular breathing, while another plays the melody.
For those less obsessed with the obscure reed instruments of the world, the duduk is a recorder-sized wind instrument characterised by its fat double reed and mournful sound, that's found across Eastern Europe, the Middle East, and Asia. It's typically made of apricot wood and goes by many names such as balaban and mey. In Kurdistan it has an arid, almost waspish sound:
But the form of the instrument with which we in the West are most familiar comes from Christian Armenia. Here it is traditional for one or two players to hold a drone, using circular breathing, while another plays the melody.
It was Peter Gabriel who brought the duduk to worldwide attention (or perhaps I mean to the attention of the West), with his 1988 soundtrack to Martin Scorsese's The Last Temptation of Christ. He remixed an old Armenian folk melody, 'Hovern Engan', played by Vache Hovsepian (1925-1978), into the opening track, 'The Feeling Begins'.
If the sound of the duduk isn't remotely familiar to you then you've probably been living in a cave. I've lost count of how many films and TV dramas now use it in their soundtrack, but here's a few I've spotted: Buffy the Vampire Slayer, Battlestar Gallactica, Gladiator, Avatar, Pirates of the Caribbean...I'm sure you can add more.
In fact it's become something of a lazy cliche, like slapping down Uilleann pipes to signify don't-ye-know, top-of-the-mornin', sweet bejeesus Oirishness. Any time the composer wants to signify the Orient, the East, mysteriousness, treachery, otherworldliness, unspeakable sadness, bitter melancholy, tragic beauty, or erotic danger (exactly the chain of associations that Orientalism seeks to dismantle), they throw in a duduk. Job done.
Meanwhile, and more interestingly, many Western musicians are taking up the duduk, not because they want to sound 'eastern' but because they are drawn to its sonorities and musical possibilities: the instrument is starting to find a Western voice. Of these my favourite is Didier Malherbe, aka Bloomdido Bad de Grass, a pixie-hatted jazz saxophonist who seems born to have played it. Here he is guesting with his old band, Gong (and yes, I fully intend on looking like that when I'm in my 70s).
And here again with his little known French jazz trio, Hadouk.
In fact it's become something of a lazy cliche, like slapping down Uilleann pipes to signify don't-ye-know, top-of-the-mornin', sweet bejeesus Oirishness. Any time the composer wants to signify the Orient, the East, mysteriousness, treachery, otherworldliness, unspeakable sadness, bitter melancholy, tragic beauty, or erotic danger (exactly the chain of associations that Orientalism seeks to dismantle), they throw in a duduk. Job done.
Meanwhile, and more interestingly, many Western musicians are taking up the duduk, not because they want to sound 'eastern' but because they are drawn to its sonorities and musical possibilities: the instrument is starting to find a Western voice. Of these my favourite is Didier Malherbe, aka Bloomdido Bad de Grass, a pixie-hatted jazz saxophonist who seems born to have played it. Here he is guesting with his old band, Gong (and yes, I fully intend on looking like that when I'm in my 70s).
And here again with his little known French jazz trio, Hadouk.
I'm sure there's many more examples I've missed. Who's up for a game of spot the duduk?
Monday, 18 February 2013
Tuesday, 12 February 2013
Tziganometry
As I trudged through the snow-slushed, rain-clagged fields today, in baltic weather and with a leaky boot, I felt the need for some crazed ritual to slough off bleary winter. Clothe me in animal skins and spin me wildly to the beat of a drum. Someone. Please.
So thanks indeed to Sedayne for sending me this, more vintage footage of probably long lost European folk rituals, this time from the village of Todora in Romania. Wonderful to see how taken the players are, the Tzigan especially (who to my eye, looks like a young Daevid Allen).
Winter doesn't stand a chance against these fellows.
So thanks indeed to Sedayne for sending me this, more vintage footage of probably long lost European folk rituals, this time from the village of Todora in Romania. Wonderful to see how taken the players are, the Tzigan especially (who to my eye, looks like a young Daevid Allen).
Winter doesn't stand a chance against these fellows.
Sunday, 10 February 2013
Griefwalker
Sometimes the perfect thing comes along at the perfect time, in this case a beautiful and moving documentary. It's about Stephen Jenkinson, who I'd guess you'd call a death counsellor or a spiritual midwife, and his friendship with the filmmaker Tim Wilson. But it's really about dying, and therefore living, well.
This is the trailer, but you can watch the full movie here. Thanks to Philip Carr-Gomm for sharing.
This is the trailer, but you can watch the full movie here. Thanks to Philip Carr-Gomm for sharing.
International Bagpipe Day 2013
Sunday March 10th is International Bagpipe Day. Once again pipers from all over the world will be putting on gigs, dances, demonstrations, lectures, museum visits, bals, ceilidhs'n'all to celebrate this wonderful and ancient instrument of ours. There's also the Great Bagpipe Convergence, where pipers are going out wherever they are at midday (local time) to play - there'll be photos and videos on our facebook page.
Bagpipes have been played since antiquity, probably originated in the middle east, and were traditionally found across all of Europe, North Africa, the Levant and as far east as Rajasthan. The entrenched association of bagpipes with Scotland is just one more unfortunate legacy of empire. The British Army took marching pipe bands to the colonies, and there they stayed, such that the Great Highland Bagpipe is the most popular bagpipe in the world. But at the last count there were 132 different types of bagpipe, each with its own music, musical culture, style of playing, method of construction and so on. The instrument really is part of our shared cultural heritage.
In England, bagpipes were a completely normal part of popular music making throughout the Middle Ages and certainly into the Renaissance. I suspect their demise had much to do with the cultural revolution, and the forced demise of Merry England, that accompanied the Reformation. Boo, and indeed, hiss.
But they're coming back and here in Oxford I've been organising an event at the Pitt Rivers Museum on Saturday March 9th to celebrate IBD. Apart from being one of the weirdest and most wonderful ethnographic museums in the western world, the Pitt Rivers also has one of the best collections of bagpipes in the country.
There's going to be demonstrations of English Border pipes, English double-chantered pipes, Northumbrian smallpipes, Lowland pipes, Galician gaita, Mallorcan bagpipes, Swedish bagpipes and bagpipes of the East. There are talks on how to make a bagpipe, on the history of bagpipes in England, on a mystery 17th century bagpipe, and more besides. There'll be storytelling and also a maker's fair, so you can try or buy an instrument.
What's more it's free, so if you're short of something to do, why not pop in? It runs from 10am till 4pm.