Showing posts with label London. Show all posts
Showing posts with label London. Show all posts

Tuesday, 3 February 2015

In Search of: Bambi

Some people go without alcohol for ‘Dry January’, I went without coffee, and blogging. One thing I did a lot of in January was searching. So herewith a series ‘In Search of’ beginning with Bambi.

Sundays are great feasts of leisure in my world. And one of the great benefits of living in Belsize Park is that nothing is that far away. So one Sunday afternoon my bike and I boarded a train and for the princely sum of £1 and a 40 minute train-ride made our way to Richmond Park.

On arrival I was relieved to have brought my bike, the park is a good 10 min uphill cycle, half an hour’s walk through suburbia would have seemed a waste of good energy en route to a park of epic proportions. That said, Richmond town is pretty enough, and they name places after food!


The park itself is a humongous 856 hectares (1427 football pitches) and is the largest of London’s parks, created in 1634 as a deer park for Charles I the park plays host to 630 deer, The Royal Ballet School and enough unique plants to be declared a Site of Specific Scientific Interest.  You can visit the park on foot, bike or in the car. The nice thing about riding the bike is you get wider access to the park (than in a car) but you can still cover large parts of the park fairly quickly.


I enjoyed looking for Bambi, his family and friends. I found his Dad and one of his sisters, but not Bambi himself. When you look at this majestic fellow you would never believe me that I nearly missed a whole herd of his antlered friends, but they really do camouflage very well. I also enjoyed this tree which looked a bit like a deer’s head complete with antlers.


It was a chilly crisp day so I didn’t sit around much. I did find a few snacks (what is an adventure without a good snack!) but was a bit disappointed that the tea rooms were shut. A pasty and a hot chocolate would have to do. Rejuvenated the return journey back to the station seemed terribly easy but then it was all down-hill. I was caught out (twice no less!) by last minute unannounced platform alterations at Richmond, do be aware.



As Sunday afternoons go, that was a good one. Long live Bambi!




Thursday, 10 July 2014

Haunch of Venison Yard: London's roads and pubs

I have been wandering the streets of London since I was six when accompanied by my Dad and little sister we would pick an area and walk it. Once home we would highlight the area covered and over several years of walking most of zone one was a veritable rainbow.

This education was furthered by studying in Bloomsbury, working near St Pauls, living in East London and now living in NW3. Every time I move to a new area I take great joy in getting lost, and then found with, or without, the assistance of the GPS or a local tube stop.

On foot the important things are the compass direction and the food outlets ('left at Sainsburys') to navigate by.

But I am discovering London from a completely different angle of late. Living as far west as I ever have done, and travelling primarily by bike and bus the key navigating points have changed and so I'm noticing other things. For example, did you know there's a road in Mayfair called Haunch of Venison Yard? Or that Mornington Crescent is actually still a crescent?


(Photo credit: 441K9 Flickr)

Cycling in London can be a bit nail-biting and as such I need all my concentration on the road, not on my phone GPS system. When I am going somewhere new I try to remember at least a 10-minute stretch and I do this using a combination of road names but also by the pubs. It amazes me that there are still enough pubs to navigate by. Its also got me thinking about pub signs. I always assumed they harked back to mass illiteracy, 'meet you at the Red Lion at 5'. But I wonder if those hanging pub signs also serve a greater purpose to people who are travelling too fast to read.



(Photo credit: camdenpubs.blogspot.com)

Now, I don't pretend to be a lightening fast cyclist but the signs outside both The Victoria and Edinboro' Castle reassured me that I was on the right track. By contrast the lack of signage outside the Queens Head and Artichoke on Albany Street nearly led to a small diversion. Being fair to the owners I'm not surprised they didn't feature a pictorial sign. In my head its looking like a head on a plate, with a stick of artichoke between her teeth. Apparently the name was given by Queen Elizabeth I's Head Gardener.


(Photo credit: www.beerintheevening.com)

Pub signage navigation comes particularly into its own when considering that postcodes are a relatively new invention. These days we take for granted our ability to type a code into our GPS but postcodes were only introduced first in the 1870s and then fully rolled out 1954 - 72. Before then points of interest would have been much more helpful for navigation.

Wednesday, 22 January 2014

The book that revived my love of London

Hi everyone!

How are you? I am loving getting to know London a little better from the inside. There are 2 reasons for this; one is my multi-branch gym pass (more to follow) and one  is Gillian Tindall's 'The House by the Thames'.
(photo taken by me, 16.01.14)

London - life-long love
My Dad has been taking me to London since I started Primary school. As a teenager I explored London from my cousin's well-placed London flat. And now as a grown-up I love walking across London; past all those places that have seen so many things, St Paul's (as in the photo above), the Bank of England, Trafalgar Square, the Southbank.

'The House by the Thames' 2006
This book is a potted history of one property, number 49 and its place in London as it has grown and changed over the past millennium. The Southbank sees a lot of change; it goes from fields, to industrial wharfs, and back again. It becomes the on-trend place to live, it is the place only the poorest of the poor would live. The landscape and thus number 49 reflect many of the changes that happen across the UK; the temperance movement, the introduction of sewers, the British Empire, electricity. Each of these changes had an impact on number 49; its structure, use and inhabitants - these varied from middle class gents, to crippled sweet makers and even a film star!

One of the things I really enjoyed about the book was the way she explains the frailty of memory and the strengths and weaknesses of different historical sources - it is so accessible. Anchoring the history of the whole area around one house was a really intelligent move; keeping me involved with the area's narrative right to the end! She's not just a historian, she's a confident historian, quite happy to share her methodology with us all, and provide photos and plans. This book was like all the best bits of my Cultural Heritage MA.

Seriously, this book is great; whether you are a novice or an expert give it a read!

Next time: The pools of London; and the adventures therein.

Wednesday, 24 July 2013

MONIKERS - A review

This last week I had the great pleasure of discovering a new cocktail bar and restaurant so I thought I'd let you in on this little gem.

I found MONIKERS whilst looking through Time Out online for a vegetarian-friendly bar in East London. MONIKERS fits the bill perfectly - located on trendy Hoxton Square and set in an old Chemistry classroom complete with periodic table and school lockers it offered us A* food and drink at affordable prices.

I chose MONIKERS for its chemistry lab theme - although we sat on the terrace, the school science lab feel runs throughout the restaurant from the school desk reception area to the table water delivered in lab beakers. The mezzanine floor of the restaurant has been decorated to look like the school bus complete with steering wheel, vinyl seats and a request-stop buzzer. Even the bathrooms were educational - complete with messages in English, French, German, Italian and of course Latin!

(Even the carafes are science-y)

The excellence of this restaurant was not limited to its commitment to theme.
Let me tell you about the food and drink.
We had two courses - I enjoyed Shetland mussels and fennel with a side of proper real chips - sensational flavours! I followed this with an Eton Mess that was a creamy delight of a pudding. My dinner companion had a very mediterranean main followed by a blueberry cheesecake the size of his head! The puddings were particularly affordable coming in at just a fiver!

Being grown ups (and fans of cocktails!) we were particularly keen to try their sweet concoctions. We made our way through a Great Gatsby (bright orange, Bulldog Gin and lots of Grapefruit - simultaneously fresh and strong!), The Figaro (Appleton XV rum, a large dose of fig syrup and orange bitters - a sparkling taste of summer in a martini glass) and a Strawberry Field (champagne, strawberry liqueur, chocolate sprinkles, hello!). All delivered promptly, all rather strong, and for a fair price of just £7.

(Strawberry Field - and my elbow - photocredit @joan_gp)

So the overall experience was lovely and the bar soon filled up, my only criticism was the amount of time it took to pay the bill. Short of actually standing up straight and shouting 'we'd like to pay now!' we did everything in our power to get their attention and it did take a horrendously long time to pay.

But if waiting time to pay is your only criticism I'd have said it was a pretty good evening out!

Sunday, 16 December 2012

Listening to Lord Farquaad (or Lithgow Talks!)


I love my National Theatre Entry Pass – it provides opportunities for young people to access groundbreaking theatre at discounted rates. When they told me John Lithgow – the voice of Lord Farquaad – was not only starring in a show but also doing a Q & A, and I could see both for £8, I booked it straight away.
(Dinner at the National Theatre)

Lithgow was interviewed by Nick Hytner, Director of the NT. The first thing I noticed when he stepped on stage was how tall he was!  It was a memorable opening as Lithgow described being born in a prop box. Born into a thoroughly theatrical family, Lithgow spent his childhood summers with his Dad’s Shakespeare troop in Ohio, starting with the small bit parts and graduating up to the young leads.

Lithgow was no fool and secured a scholarship at Harvard. He describes himself as the ‘best actor in Harvard by osmosis’ only a small underestimation of his evident dramatic talent (!) and a time of prolific output – he featured in some 8 or 9 plays per term and his repertoire had by this time expanded from Shakespeare to encompass several Russian playwrights among others . On some kind of Erasmus swap Lithgow made it to LAMDA which conferred on him a love of London and a convincing English accent, he describes it as like ‘swallowing a horsepill of Englishness’.

Lithgow also passed comment on his lifelong profession of acting deeming it a reckless and stupid career path. He has done numerous other things on top of acting to fill the quiet season from writing children’s books to conducting orchestras. He does this he says to avoid the actor’s agony of ‘waiting to be wanted’.

With this backdrop I ran off to speed munch my dinner and then returned to the front row to see Lithgow perform the lead role in Pintero’s  Victorian farce, The Magistrate. Damien Lewis loved it - he was sat about 6 rows behind me, desperately trying to keep a low profile. The play was everything I’ve come to expect from comedy at the NT, riotous, professional, splendid and slightly mad. The script set the action firmly in London and with my local interests that really pleased me! As ever the staging was central to the success of the play, this time it both rotated and rose on expensive mechanical, silent sets. Lithgow provided some hilariously comic moments particularly when acting out being attacked by a dog who obviously wasn’t there! And I loved the song about trying to guess the age of a lady; it was suggested you might chop her leg off and count the rings!

The Magistrate is on until March, there are plenty of discounted seats available and I can’t recommend it high enough!

Sunday, 28 October 2012

Skyfall: Bond of 2012

I recognise I break the tradition of varied comment but please find herewith my analysis of Skyfall, the latest Bond film. Anxious as ever to avoid plotline, essentially my argument is that Skyfall is tightly a product of 2012.


Bond: The Patriot

Although Bond films have often been about tradition in Skyfall unlike many of the previous films England is a real focus. M has a Doulton British bulldog on her desk, most of the action happens in London or rural Scotland. When Bond plays word association, in reply to 'country' he says 'England'. The strong sense of patriotism laced throughout the film can only have been released in the positive patriotism atmosphere of 2012. It has taken a royal wedding, a jubilee and the Olympics to make the English recognise their latent patriotism and it seems these events have enabled English film makers to join other artists (like Cath Kidston) to recognise their 'English' or 'London'ness (although these are very different concepts, not to be conflated!).

 Royal Doulton's British Bulldog



Bond: The Healthy

When you watch a Bond film you expect to see gratuitous violence, sex, Martinis and lots of gambling. Never was this more true than in Casino Royale (2006) which was mainly set in a casino (clue's in the name!). But Skyfall is quite different; there is some sex but it is limited and quite veiled. Whilst Bond does enter a casino he never actually places any bets. He does drink, and occasionally to excess, but this is viewed as part of his demise that requires rectifying rather than something to be idolised. Bond does kill in this film (and equates 'murder' with 'employment' in the aforementioned word association game); but violence is portrayed as the last resort, something that only bad guys do, the 'good' prefer detention. This reflects the health agenda particularly in entertainment; the idols must have healthy gym routines, may in fact be t-total and leave behind their complicated pasts. Being 'zen' is in, being ostentatious is out.










Bond meets Q at the National Gallery      Bond surfing the tube (neither are my images)

Bond: The Advertiser

There has been plenty of discussion about product placement in this film. The products advertised include: Sony (its a sony film though!), Range Rover, Heineken, Jaguar and Austin Martin. Some of the advertising is actually quite subtle, take Jaguar for example, its just the logo stitched into the headrest of Bond's car. There has been some upset that Bond drinks Heineken and not a Martini, I have to admit I missed this placement and I was looking for it! For what its worth, I think that product placement has always been a part of Bond films, in fact a work colleague told me just this last week that his watch was 'the same as Bond's'. Although the products, and the number needed to sponsor a film, may have changed the necessity of sponsorship is the same as ever - big explosions, wrecking cars and ensuring quality casting all cost money. And sponsors are really helpful in a recession.

Q: The youthful computer nerd

More and more the content of spy entertainment revolves around the impact of e-terror. During Skyfall I was much reminded of the last series of Spooks in which Tariq Masood the techno-geek played an increasingly important role in spy activity. This Bond's Q is the frankly gorgeous, Ben Whishaw, and he plays it modern geeky, he's got the cardigan and dark frames look going down, he is essentially an ethical hacker. His approach is quite different from Micheal Caine's, much younger and less about the gadgets, more focussed on the brain; 'Were you expected an exploding pen? We don't really go in for that anymore'. This shift away from the stuff, and towards the way in which we can use technology to help us achieve our aims seems reminiscent of the 2000+ world.

Ben Wishaw as Q (not my picture!)

As ever this Bond was high-octane, featured a surreal trailer, the words, 'Bond, James Bond', and a reference to Moneypenny. I really liked this Bond because of its focus on Bond as relational human as well as nation's superhero. Definitely one of my favourite Bonds; but then only the third I've seen at the cinema; possibly the last with Craig? See it!

Friday, 14 September 2012

Why bother with Plan B? (review illManors)

In May, when Ben Drew (Plan B)’s single illManors came out I compared him to Shakespeare. Now I’m back with a critical piece on his whole album of the same name; which has had a massive impact on my life.

 
As illuminated by the singles that he has released so far; illManors, Lost my Way and now Deepest Shame this album is very vocal. Drew is attempting to tell stories from his childhood and from the culture of Forest Gate in the late 90’s, ‘I’m a social commentator, socially commentating, what I say is verbatim’ (I am the Narrator); the stories which cover drugs, prostitution, assault, murder, newspapers and society, are based on real experiences of people from East London.

Due to the form and content of this album there is an interesting discussion to be had about a) what Drew is trying to do and b) whether it is any good.
a) Drew’s latest single release has involved Radio 1 playing Deepest Shame most days. The song tells the story of Michelle, sexually abused as a child who turns to drugs to numb the pain and then prostitution to fund the habit. By being played on the radio Drew is bringing the reality of generational poverty to all sorts of kitchens and living rooms!

The lines here between music as entertainment and music as protest are getting a little blurred. Drew said he wrote illManors as a response to the riots of last summer, as an attempt to be a voice for those unheard. He samples vocals from protest-punk poet John Cooper on his album (he performed at Music for Miners in 1984 and has a strong link to socially conscious music).

Drew makes several bold statements both to those he views as outsiders, ‘sorry mate, these ends are in a sorry state, you can’t relate’ (Falling Down) and to his own, ‘We aint no different from them, honestly. Luck is the only reason they weren’t born into poverty’ (Live Once). Yes, there is a degree of advocacy of the poor to the rich going on; see Kano’s rap in ‘Live Once’ but there is also an attempt at balance, illManors criticised both dependency on benefits and the Government’s economic policy, and a desire to educate – he gives a brief history of cockney and its uses in ‘Live Once’ and to challenge kids from the estates not to become self-fulfilling prophecies. I would argue that this authentic voice of Forest Gate is producing a voice from the street, for the street. There is far too much swearing to make government pay all that much attention; it is too easy to dismiss these words as those of an angry man who is out of control.

b) Is it any good? Yes, at conveying the violence and the struggles of the underclasses. But I would also like to suggest that Drew’s music is well crafted. Drew is unafraid of fusing high culture with rap; during ‘I am the Narrator’ he samples St Saën’s Carnival of the Animals, behind his rap he reclaims the high culture for everyday use. His narrative tale, Mr Drug Dealer, borrows extensively from the epic genre, taking each verse as an episode in Chris’ life – we follow Chris and the twists and turns almost as they play out in front of us. I saw significant parallels in form between Drew’s album and Perfect Strangers; both use the device of starting with a complete scenario and working backwards to explain how this circumstance came to be, like Drew’s lyrics, its clever. Clever literary devises of the lyricist, good use of sound from the poet and harmony from the musician; all from one man.

Several of my friends disagree with me that Drew’s work is art worth appreciating. I think there are a number of things that affect people’s appreciation of the work – language is a big one, style is another and definition of vulgarity also makes an impact. Essentially the question is, ‘Can a piece with violent content and explicit expression be artful, can it be beautiful?’ This question is actually one Drew addresses himself  ‘sorry mate…you can’t relate …you can’t appreciate how this artist paints’(Falling Down). I think there is objective quality in the art Drew creates; after all I did compare him to Shakespeare.

My encouragement to you would be listen to the record, with open ears and consider what you can learn about life, East London, and even yourself through it.

Sunday, 8 July 2012

High Profile East End


I don’t know if its because the Olympics are just around the corner but the East End is everywhere at the moment!

It all started a few weeks ago with a BBC programme on the changing character of Billingsgate Market (an East End fish market). It profiled how the changing demographic and economic climate in East London had affected the market and its patrons through the eyes of real people whose lives were affected by the change. It was interesting to see how national and international phenomena (fish stocks) affected the individual.

In the newspaper I read that the Cockney sparrow is now near extinct from competition in East London, and the number of real Cockneys (born within the sound of Bow Bells) has also declined severely because noise pollution in the city means the sound can barely be heard beyond Shoreditch Market (read it here). If the East End were a UNESCO site they might be about to lose their funding for failing to meet its cultural definitions! I guess this means we have to look for new definitions of an ‘East Ender’ based on our modern spatial markers, like within sight of the Gherkin, something increasingly difficult to do when we are less spatially distinct. Although I did hear someone say on the Tube the other day that ‘London is still a number of separate towns’; the districts of the City are still indeed distinct but summing them up into one statement of their cultural identity would prove difficult. The districts of London continue to fascinate me.


I have also read a book about the East End recently called, ‘The Sugar Girls’. It was about a group of girls who all worked at the Tate and Lyle factory in Plaistow, not so far from Billingsgate. The book was based on a memory project carried out by the authors, Barrett and Calvi, in Old People’s homes and Community centres, noting down ladies’ stories. It was interesting to see the patterns that pervaded throughout the book for the women of the factories relating to independence, careers, love and friendship . Whilst recognising that things had changed with technological advances and immigration to the area the women retained a great fondness for their area and the friends they had made. The book made me keenly aware of the CSR function that factories used to have towards their own workers; taking them on holidays to the seaside and ensuring women under intense pressure took paid leave to recuperate. The authors also did humour really well in their storytelling.

Somewhat tenuously I wanted to add my trip to see Sweeney Todd into this blogpost. The story of The Demon Barber of Fleet Street is expertly told at the Adelphi Theatre; Michael Ball and Imelda Staunton were good but my major support goes to Gillian Kirkpatrick who played a mad woman excellently. Although theoretically Fleet Street is w1 it still just about meets East London and the portrayal of London culture in the musical was really interesting, Mr Pirelli perhaps being the Victorian East London archetype, and provoked much internet searching as to what a ‘Beadle’ was. Even the bustle of the streets as portrayed in the musical is reminiscent of much of London life, all that shouting and a fair deal of coarseness, street food provided because there is no time to sit down, running because there is no time to walk and lots of smoke; this came into its own in the smog last week, I finally understand why it is called the ‘Big Smoke’.



Thursday, 7 June 2012

Rain, Bicycles and Storytelling


As per usual I have really taken my time putting this together but this is not a reflection on the performances; they were so good that they are still impressed on my memory 3 weeks later.
I had the great pleasure of being invited to TailSpin's, ‘Night of the Storyteller’ at The Miller Pub, London. It is held on a monthly basis and features storytelling from a number of actors musicians around a central theme; this time it was rain and bicycles (that most common of themes!). Being a little early I popped round the corner for some food and discovered the joy of, AbStarv but that is a story for another time. The Storyteller venue is upstairs in a pub enabling that most wonderful combination of, food delivered to table and excellent entertainment to combine in glorious harmony; I know that sounds like hyperbole but it is the truth. I sat eating my mini-carrot cake in anticipation, admiring the ‘rain’ and intrigued by what would follow.
(photo credit: B. Sherlock)
First up was Seán O’Shah who told us a tale of epic proportions, of a brilliantly gory princess forced into marriage. I really loved the playful way Seán interacted with the trope throwing in some gritty and downright hilarious realism to boot. I think more heroines should be built like Seán’s; she would have been most at home with Sanders’ Snow White.
In the interlude there was musical entertainment covering the contents of one’s mind whilst thinking in a conservatory during the pouring rain, and we were straight on to story 2. Another epic tale this time of a princess locked in a tower. Nothing unusual about that I hear you cry, but does your maiden have; an unexpecting poor man fall asleep in the carcass of a bull, who is then carried to the tower, and the pair fall immediately in love much to the horror of her royal father?! Yeah, I didn’t think so!
The real pièce de résistance was the story of Anansi the West African spider performed by the magical Cat Gerrard and Bel Sherlock. These two have got great imagination in the way they produce pieces and they are so entertaining, Cat’s story-telling education is patently obvious. Bel and Cat brought a cast of spiders to life on stage; and you know I could actually see this Trickster-spider, his wife and the fields where they waited for rain. What really stood out for me was the multi-sensory experience, they danced, they sang, they jumped and they even played a bicycle. Yes, you did read that right, Bel used a bike as percussion; everything from the thudding of inner-tubes for rain to knocking on main-frames. The bike, which Bel uses every day to get to work, was well and truly explored; I am quite intrigued to know how she discovered the under-side of her bike made such noises! The use of common instruments for extraordinary use in this production was reminiscent of Young’s adaptation of The Old Man and the Sea.
(my photo of Bel and bike, 'Trevor')
This night was great entertainment and good value at just £5, the next Night of the Storyteller is Thurs 21st June - its going to feature cross-dressing Norse gods, needless to say it is going to be entertaining, and it is in my diary!

Monday, 2 April 2012

Hampton and Hunger


Today’s blogs brought to you by the letter, ‘h’.

Hampton Court Palace
 
On Friday I had the great pleasure of visiting Hampton Court Palace and its beautiful gardens. Hampton is an English royal palace, built first by Cardinal Wolsey, an adviser to Henry VIII. The building subsequently left ecclesiastical hands when Henry VIII took the palace over, built additions to it and had his family based there. A century and a half later William III bulldozed half the Tudor Palace and created a grand baroque country home. 

 (Tudor Hampton Court on a sunny day)

Although entry cost £16 for an adult it was well worth the money. Entry included access to both parts of the palace, all the gardens, Henry’s chapel royal and a handset which gave different tours of all parts of the palace. I was immediately struck by how like a Cambridge college the whole thing was; the clock and base court of Henry’ s palace being reminiscent of St John’s and William’s palace and gardens more like Clare.

The palace itself is laid out in several different styles, Williams’s apartments were laid out in the traditional style of a country house, showcasing the royal collection of paintings. Whereas Henry VIII’s apartments and kitchens on the other hand were laid out as Henry VIII would have had them at the time, with a strong emphasis on experimental archaeology; reinforced by the constant referral to the archaeologists on the handset. Henry’s royal chapel is really worth a look.

One of the strongest exhibitions was about Henry’s early life and first marriage. I liked the fact that although it was sited in the traditional structure of the palace, it was a blank canvas onto which new ideas were painted. There were videos projected onto the walls, speakers hidden in seats and interactive screens. In each room the relationship between Woolsey, Henry and Catherine of Aragon was represented by three thrones; which like chess pieces, took different formation depending on their relationship at the time. This effect got round the excessive ‘political history’ boards whilst still conveying the essential information.

Although I only had three hours at Hampton I could easily have spent longer. The handsets went into great detail and featured, archaeologists, art historians, curators and actors to give you as full a picture as possible; I admittedly skipped lots of them. Similarly there are amazing gardens ranging from English wildernesses of daffodils and bluebells, to a maze, and walled gardens which serve as more than a background to your picnic lunch. Although I think the weather contributed to such a lovely visit (I’m not sure all the gardens would have been so pleasant in the pouring rain!) I would highly recommend a visit to Hampton Court.

The Hunger Games
 
Yesterday I went to see the Hunger Games at the cinema. Yes, I went on my own. No that’s not weird. The film is about a dystopia where in the wake of a peasant uprising there is a yearly memorial ‘games’; its a fight to the death. 

It was a strongly emotive film; from the start people are making sacrifices for oneanother and the constant threat of death makes lines from the actors all the more poignant. Although I think I was supposed to be drawn to the love-triangle in this film (see media image below) I was actually more affected by the narrative of sisterhood in the film. At the start the children go through a selection process and both the lead, Katniss, and her little sister are in the mix. Katniss’ sister is scared and she does her best to reassure her, even giving her a Morning Jay pin-badge for luck. Against all odds Katniss’ sister is chosen and confronted with such an awful reality Katniss volunteers herself. I don’t know what was going through Katniss’ head at the time but her desire to fix that terrible situation was something I could relate to; as a big sister my gut-reaction is to jump between my little sister and any things that frighten or threaten her, even when I don’t feel that brave myself. 



Later in the film Katniss forms an alliance in the game with a little girl called Rue. Together they make a great team and achieve things neither of them could have done on their own. Without Rue’s communication ideas and fire-lighting they would not have achieved their aims. Although this relationship was quickly forged it was deep and true; much deeper in fact than any of Katniss’ romantic attachments. Rue stood for hope in Katniss’ game. This sisterhood, forged in a time of crisis, where each has their own skills and strengths but both work as a team towards a common goal reminded me of my relationship with my sister, on a good day.

There were definitely some quotes to take away. I particularly liked, ‘Hope...it is the only thing stronger than fear. A little hope is effective, a lot of hope is dangerous’. That line was spoken by a dictator a man trying to keep morale high but contained, I’m not the only one who likes it (Clawson). If I were the sort that went in for tattoos I think I might have this one. In general it was a more hopeful dystopia than some of the films I’ve seen (Children of Men, for example).

Finally I liked this film because it had a heroine at the centre; she was doing strong things from firing arrows to burying the dead. Often action heroes are men and if they are women they can often feel one-dimensional, e.g. Lara Croft. Katniss was very real, she had strengths but also weaknesses. The way her romantic narrative played out was also interesting, no where near as cut and dried as Hollywood often tried to make it. I don’t think I spoil the plot in saying there is a romantic tension which Katniss lives with that is also reminiscent of real life.

Yes, the plot was a little unreal some times but it was a great way to spend a Sunday evening.

Thanks for making it through a double-blog. I’m off to Germany now so see you in two weeks time!

Wednesday, 28 March 2012

London - architecturally speaking


Ever since I was a child I have been in regular contact with London. My Dad took my sister and I every half term in a bid to get us to know the City (impelled by a profound fear that we would be left on our own whilst out clubbing with friends and not know our way home), I came to love W1 as a teenager visiting family, got to know Bloomsbury as a student, Holborn and the Strand as a jeweller’s assistant (when I first noticed the Griffins of the City of London and the architecture of the Royal Courts of Justice) and now east of Tower Gateway working with young people. (This post would have been accompanied by my own photos but my phone got nicked!)

(Griffin, thanks to DT model at picture nation)


When I’m meeting friends ‘in town’ I often choose to walk rather than take the tube. It is good to see the city pass, walk along the banks of the Thames and take in the cool air of the city at leisure. On these many walks I have noticed what a hotchpotch of architectures we have in London. What follows is an attempt to catalogue the history of London, architecturally.

Londinium – London of brick part I

The first bit of London I was ever met was Roman. It is a piece of the London wall, now comfortably nestled, and only slightly oppressed by The Grange Hotel. Although now crumbling, the wall that used to encompass the Roman city was a formidable structure that used to run along London wall up to the Barbican (where there was a Roman fort) and down to the waterfront. You can see a statue of Trajan at Tower Hill; not often you put up a monument to someone who invaded your city (!). Encompassed within the wall Roman London had a forum, an amphitheatre and a mint; politics, entertainment and money ran the city even then!

(thanks Wikipedia!)

Ludenwic – London of wood

London was not abandoned after the Romans left, but the archaeology often looks like that. So much so that until the 1980s archaeologists and historians were at loggerheads as to whether a Saxon London even existed! Saxon London was wooden and it was western. As usual the Saxons were really into their recycling and choosing alternative locations for building; they built their London in Covent Garden. Other outlying towns and villages, now part of Greater London, have retained their Saxon names, Paddington, Lambeth and Fulham, sound familiar? The Saxons left other imprints on the City, the irregular shape of Park Lane follows the Saxon farming patterns for a start (thanks Pete Ackroyd for that gem!)
Beyond the Saxon period London continued to be a city of wood and recycling with the odd incursion of stone e.g. Tower of London built in stone by the Normans to make a point (they all had small willies!). The lack of fire-retardant structures was a frequent problem for the people of London. Fires and pestilences plagued the city on frequent occasions, often raising the city to the ground. But the occupations of older Londoners still lives on in present day toponyms; Milk Street, Wood Street, Cooper’s Row, Lime Street (think limestone rather than citrus fruits), Poultry and Vintry for example.

But London is a regenerative city, like the Phoenix that rises from the ashes, London rises again. After the great fire of London came a new age; London in the age of stone.

London of Stone

After the Great Fire and right on through the Regency period London was expanding. Life expectancies were still short but rumours like Dick Whittington’s were rife, so immigration to the city was high. The wealthy saw money to be made in the City and started building. Although Smithfields, Moorfields and Farringdon were still rural fields; the centre of the City of London was exploding.  Roads around Holborn and the Strand, heading west from St Pauls are dominated by this architecture. Big limestone-fronted buildings that announced wealth, the Bank of England built by John Soanes in this period illustrates the point precisely. Some buildings have stayed on site and retained their usage since this period. Take for instance, Twinings tea shop on the Strand; classic 18th century architecture and still serving tea since 1706. There are other rare gems to find too, the Guildhall Library with its Hundustani Gothic entrances (1788) and the College of Arms (1670s) features amongst many guild buildings from this period.


(Bank of England, thanks to itraveluk)

Although the Royal Courts of Justice just miss the Regency period, being designed in the 1860’s and not actually opened until the Victorian Gothic period, the building shares many similarities with eighteenth century construction. The courts are a dazzling white in a city perceived as morally and literally dirtied; the edifice is elaborately decorated with perfect archways and minute shapes. Even now it makes an impression on the area around it. I did have a lovely picture of the RCJ from behind but my phone got nicked, sorry everyone. The photo showed that at the heart of RCJ is warm wood and soft lighting, hidden under the blinding brightness. Just like many of the churches in the city of London built at the time; forbiddingly holy (and stone) on the outside, soft and wooden on the inside.

London Metropolis – London of brick part II.

Thanks to transport links, better sanitation and continuing immigration pressure the London of the Victorian period saw huge expansion. Rail travel particularly saw the construction of great high ceilinged stations and commuter satellites. It was during the Victorian period that ‘Moorgate’ was no longer the gate to a ‘moor’ but a metropolis. It is the time of markets, Covent Garden, Shoreditch and of great overcrowding.  Slums, particularly in East London were popping up in great numbers trying to accommodate the vast numbers of people in the city. Building south of the river also began in earnest being served by railway lines and an increasing number of bridges to ‘the City’ (Battersea, Blackfriars, Putney, Westminster and Tower Bridge being perhaps the most famous). This is also the age that brought us the Houses of Parliament (1840) and other buildings like the RCJ, and Adelphi and Theatre Royal theatres. Evidently since the Roman times those key strands of parliament, economy and entertainment remain.

(Tower Bridge, thanks to destination360)

London of Concrete – Why would anyone want to talk about that?!

London of Glass

Today  I would call London the city of glass. Most of its new buildings are typified by the Gherkin and the Shard, or perhaps less famously the Lloyds building on Lime Street, or 88 Wood Street. Glossy, glassy, comedy shaped office blocks. All traditional forms are inverted, the glass and infrastructure is on the outside, you are supposed to be able to see in. One construction in Bishopsgate actually claims to invert the traditional building shape of biggest at the bottom...it will actually by bigger at the top! Without the dirt and dust of previous centuries Londoners are confronted with a mirror into which they themselves may indeed be perceived. I think that also says something about the generation which built the buildings, designed to give you what you want to see.

(88 Wood Street, note the lifts are on the outside! Thanks to urban75.org for image)


London of tomorrow? I wonder what that will be? I wonder what design constraints it will need to meet and what materials it will be built from? Flood proofed perhaps?




I hope you have enjoyed what was potentially my most wordy blog yet! Well done if you got this far!
 I didn’t think of all these ideas myself, please find below a list of people who helped me:

Peter Ackroyd’s London: The Biography (I’m only 200 pages into the 850 page epic but I’m getting biceps on my biceps reading it on the way to work).
http://www.victorianweb.org/mt/theaters/pva234.html – Victorian Theatres in London

Tuesday, 6 March 2012

Joy in People: Jeremy Deller


I have recently been developing an obsession with the Southbank. Last week I went twice, once to see Comedy of Errors, starring Lenny Henry, review to follow – we saw it for a fiver! - and once to see Jeremy Deller’s exhibition at the Hayward Gallery.


Jeremy Who?
Admittedly not a traditional artist of the high form I would forgive you for not knowing the name. I first encountered Deller whilst working on a piece for my MA on the archaeology of sites of former protest. I was really fascinated by the ‘Battle of Orgreave’, so much so I jumped on a train to look at the site, got into all sorts of scrapes and met nice northern ladies in bun shops.

Anyway, Deller was also pulled into the orbit of Orgreave and produced a re-enactment of the battle, with former miners playing policemen and former policemen playing miners.  ‘Its going to take more than an art project to heal wounds. But was definitely about confronting something; to look at it again and discuss it’. I thought this sounded like a man I could get on with and when his name appeared on the Hayward list I paid it a visit.

‘To look at it again and discuss it’
This is the thread that runs through all of Deller’s work. The Joy in People exhibition included some of his earliest works (illicitly exhibited originally in his bedroom whilst his parents were on holiday), to It is what it is (2009), a discussion on terrorism and UK involvement in Iraq. He looks at the domestic proximity of cafes (2009) and bedrooms (1993) to big open landscapes , Exodus and Beyond the Walls (both 2012). Working with a number of mediums; including paper, photography, music, film and in fact people, Deller provokes discussion on a number of issues from war and peace, Britain’s heritage, to ageism and the plight of a transvestite wrestler.


His methods are arresting. 
They take you by surprise and they encourage discussion. 
Only Deller would build a life-size operational 1970’s style cafe for a carnival float; and encourage visitors to sit, drink tea together and contemplate what is worth saving, and protesting about.


By the people for the people
Deller uses a number of actors to people his exhibitions. One part of the gallery was a big black wall with ‘I <3 Melancholia’ written on the wall and a youth dressed in black just sat reading for hours. The people in Deller’s exhibitions often don’t say much, or directly interact with you. Rather they are there as sign posts and discussion points. I must say I totally missed the real person who had experienced war-torn Iraq sat in ‘It is What it Is’. In sum, ‘Deller makes art by the people for the people –and it is often fun and uplifting as a result’ (Sooke).


Common-Culture
I went to visit this exhibition with a dear friend who ‘appreciates art’. I think going on my own to this exhibition would have been an altogether different experience; the discussion would have been decidedly one-way. In its ability to provoke discussion Deller’s work is communal and it encourages community cohesion. At another level this is ‘common-culture’ in that it makes art from the common every-day world. I think it has taken me quite some time to see Deller’s work as ‘art’; a few years ago I would not have recognised scruffy t-shirts and quirky placards as art. I credit my MA, Dan Curtis, Elle McAllister and Caz Challis as well as the numerous artists at TAP for teaching me that ‘art’ doesn’t have to be ‘pretty’.

I loved this exhibition so much so I bought the pinbadge. Its on til 13th May and is a steal at only £10. It truly celebrates ‘Joy in People’.