Sunday, April 01, 2018

Amy


Rachael has asked me to post this review from the Fatea Music magazine. I confess to having an interest as our family have known this singer/songwriter for some time. 



Review
Amy Goddard
Down in the Mine
6 track EP


The sign of a true artist is that they can take a concept we're all familiar with and turn it into something greater. Amy Goddard is a Welsh singer/songwriter now living near Portsmouth, but she grew up in the valleys not far from Aberfan. For the 50th anniversary of possibly the most avoidable mining disaster ever she released a single, "Remembering Aberfan", which went on to become FATEA Song of the Year 2016. That encouraged her to explore the concept of mining further and the result is a new EP which will, I believe, cement her reputation as both a writer and musician of the very highest quality.
The EP opens with "Blue Murder". This explores a situation that was very common in the mining industry, that of emigrant miners being lured across the world with the promise of easy money only to find themselves trapped in jobs with terrible pay and conditions and unable to do anything about it as they didn't have the funds to come home again. In this song the destination is Australia, but similar situations could be found in the coal mines of Canada and elsewhere. The song is sung almost a capella duet with a very light drum to hold the beat and really emphasises the desperate situation these people found themselves in, being driven harder and harder with their whole lives controlled by the Company, who would have also owned the houses the miners lived in and the shops they had to buy from.
"Dark As A Dungeon" takes us underground and can be considered the title track with it's line
'It's dark as a dungeon way down in the mine'. It's dark, damp and dangerous and the miner is already looking forward to death as the only possible release, by which time the dust in his body will make him almost coal himself. For a gloomy subject the tune on this one is very upbeat with guitar and fiddle giving it a real lift and a country feel. The chorus becomes surprisingly sing along very quickly.
Track three, "Green Is The Colour", was the second single to be released, late in 2017. Here the subject is arsenic, mined in huge quantities along with tin during the 19th century and in demand as a very effective pesticide. Discovering it also made a very vivid green, which was used in wallpapers, probably wasn't a great idea. The strength of this song is that it doesn't consider just the miners but also the home owners who took to this fashionable new decorating material and died as a result. As the song says for "the rich man in his townhouse and the miner underground, death was the guest at the table". This song clearly draws it's inspiration from the traditional Black Is The Colour, reworks it very well and is in the living tradition of songs evolving over time.
Whilst we tend to associate mining with coal, as has already been seen it wasn't the only mineral that had to be dragged from the earth. "North Country Blues" is a Bob Dylan song, takinges iron ore as it's subject and the mining is on a huge scale. There were cycles of boom and bust but even in the good times the mine was a dangerous place and the narrator recounts the deaths of various family members either from incidents at the mine, or sickness from the environment. Eventually the mine shuts due to cheaper imported raw materials, the town dies and the narrator, a woman from a mining family now married to a miner, faces a bleak future in a place where the shops have closed down, her husband has deserted her and her children will have to leave to find work. Although the song is set in the USA it's a scene that has been repeated around the world.
As has already been said, this EP had its roots in the disaster that was Aberfan and it was one of those events that becomes a marker in the lives of people who were around at the time, whether they lived nearby or not. This tragedy also inspired the song "Palaces of Gold" by Leon Rosselson, but Amy has chosen a much more focused view of the event. "Remembering Aberfan" is the story of one mother and her son and it's that simplicity which makes this song so incredibly moving and powerful. I saw Amy perform it at Cambridge Folk Festival last year and in in the audience was a young mother with her son sat on her lap. By the end of the song she was in tears and hugging him; that is the power of music. "Remembering Aberfan" is a song everyone should hear and once they have they'll never forget it. Masterpiece is an overused term, but this song is a masterpiece.
Ending the EP is "Underground Road" and returns back to coal miners and their families. Again the narrator is a woman who watches her father and brothers, and eventually her husband, heading below ground every day and wondering if they'll come back. There's a wish from her husband that their son won't have to following but she knows there'll be very little chance of that happening. Eventually, of course, tragedy strikes and as she watches her son play the earth shudders as the mine explodes and 100 men are lost. The real tragedy, though, is that those left behind have no option but to remain and eventually head back underground again. That's a common link in these songs. When a community is reliant on one industry it forges a community but leaves them dependent and completely reliant upon it, no matter the cost in lives destroyed.
This has to be one of the finest special project pieces I've come across. The songs are incredibly good and I believe they will be a worthy addition to the lexicon of mining songs for a long time to come. But, this EP offers even more and that is Amy Goddard herself. She has a voice, likened by some to Sandy Denny or Joni Mitchell, that is made for tragedy. It's gentle timbre, with a sense of vulnerability, brings heart to stories of people who are never going to get a fair chance, not through their own wrongdoing, but simply because they're playing life with a loaded dice.
The album has an official release date is 9th April, followed by a launch event in Boarhunt, near Portsmouth, on Saturday14th. If you want to get hold of it sooner there is a pledge campaign running until the 4th April and pre-orders will be posted out soon after. As I said at the start Amy is a real artist and some of the offers in the campaign reflect that. There are hand drawn plaques alongside the more usual handwritten and decorated lyrics. You can even own part of the actual music from the album as the strings from Amy's guitar, which she made herself incidentally, have been turned into bracelets.
Tony Birch

Sunday, March 18, 2018

Josephine


Rachael seems to be making slow but steady progress health-wise, which is good to see. Most of her comments and updates can currently be seen on twitter. She has asked me to post this for a regular contributor here, Occasional Reader.


JOSEPHINE TEY

In 1990 the British Crime Writers’ Association produced a list of the top 100 crime novels of all time. Obviously this was very subjective, and maybe the list would change considerably if revisited today. But top of the list, in their view the best crime novel of all time was one written by Josephine Tey, The Daughter of Time. Tey weighed in again at number 11 with The Franchise Affair. A sub-section The Whodunnit placed The Franchise Affair at number 1. And another sub-section, Romantic Suspense, had another Tey offering, Brat Farrar, at number 8.

Quite an achievement for someone who viewed her detective novels as “her knitting,” a hobby for when she was not concentrating on her real work as a dramatist under the masculine name of Gordon Daviot.

There have been several TV dramatizations of her work and at least three films – Hitchcock adapted A Shilling for Candles as Young and Innocent (1937), The Franchise Affair came out as that title in 1951 and Brat Farrar was given the Hammer horror film treatment as Paranoiac in 1963 (but wisely leaving her name off the credits).

But it is her command of language and dialog that makes the books special for me.

There was a biography finally produced for her in 2015 by Jennifer Morag Henderson. Going off onto one of my usual hobby-horses and tangents, as someone who has been proof reader for a number of writers over the years, it could have done with more work. You can get away with spelling to some degree today, because modern computers have spell-checks, and grammar and syntax can be very individual. If James Joyce can write Molly Bloom’s Soliloquy in Ulysses with virtually no punctuation, who are we to argue – other than mutter something rude about pretentiousness…  But a proof reader’s art is to spot where a writer defines things they’ve already explained in detail but forgotten. Or where the writer assumes they have covered something and in the final incarnation they haven’t, presenting you with a jigsaw with missing pieces.  A proof reader has to read the complete product from start to finish if they are to spot these problems. Well, the biographer of Tey could have done with a bit more of that. 

However, very much on the positive side, the book did solve several questions about her life. She was born Elizabeth MacKintosh in Scotland and as a young adult went into nursing and teaching, qualifying as a physiotherapist and PE teacher. But she had to give up her career in England to go back to Inverness to nurse her mother until she died, and then spent nearly 30 years caring for her father. As soon as she got her freedom after he died she was struck down with cancer and died within fifteen months herself. But over the decades, she got away to London on the railway twice a year by employing a temporary housekeeper and under the pen-name Gordon Daviot had a huge hit in 1932 with an historical play on the West End stage (Richard of Bordeaux) that made the career of John Gielgud. Three volumes of her collected plays were published after her death.

But then under the pen-name Josephine Tey she wrote a series of detective novels, especially after the Second World War, including the three mentioned at the start of this article. The number one winner of the best crime novel Daughter of Time has her main policeman stuck in a hospital bed totally bored out of his skull, who then starts researching the murder of the Princes in the Tower (c. 1483). Tey, through her detective, “proves” that the usual suspect Richard III was not guilty! The same plot device, detective in hospital solves ancient case, was reused by Colin Dexter with Inspector Morse and The Wench is Dead. Tey died aged 55 and could have written many more classics had she lived.

The biography dispels a myth about her last days. The usual story is that, knowing she was mortally ill, she came to London for one last time. She stayed at her club. She contacted no-one. What did she do? Where did she go? When her death was announced in the newspapers it caught the theater world by surprise.

In fact, the truth was far more mundane. She took a trip south to have an operation in a London hospital. While staying at her “club” sounds a little esoteric, it was an accommodation address for nurses, sharing premises with The Royal College of Nursing, for which she qualified from work during the First World War. The operation showed her to be in the terminal stages of cancer. She went back to her sister’s home in London, where the family nursed her for a short time until she died. That she’d planned to go straight back to Scotland after the operation is indicated by the fact that the water pipes in her home in Inverness all froze up without attention, and when the family eventually made the trip after her death, water had been pouring out of her home for some time and the neighbors apparently didn’t have a contact number. Much in the house was ruined, but fortunately not the manuscript for her last novel The Singing Sands, which was published posthumously. But the other tale with its hints of mystery in the midst of tragedy sounds better. As one of the last lines in The Man Who Shot Liberty Valence says, “When the legend becomes fact, print the legend.”

Because she was such a private person who never married there was an aura of mystery about her. A modern novelist has used her as a character in a detective series of her own, and portrays Tey as a lesbian. In reality, correspondence shows Tey rebuffing advances from a famous actress, and like so many she lost a boyfriend in the First World War, and her second love, a poet, died in the 1920s. History created a dearth of men for the 1920s and her situation was by no means unique.

So what was she really like? Half the fun of reading her books today is looking for clues, although different readers will interpret differently. I believe she saw herself as Marion Kane in the Franchise Affair (loosely based on the 1753 Elizabeth Canning case). Her waspish portrayal in the same novel of a predatory teenage girl probably came from her experience as a teacher. Her dialog of theatrical poseurs probably comes from her contacts in the 1930s London theatre world and shows off her skill as a dramatist – which as noted above she believed to be her first calling. But her plays are long out of print and unperformed; whereas all her detective novels have remained consistently available.

What the biography has done is send me back to the original books. One of my favourites, based on the phoniness of the London theatre world of the 1930s and 40s with a bit of cross-dressing thrown in for good measure, is To Love and Be Wise. I think I’ll start again with that.



Wednesday, February 07, 2018

Thursday, January 18, 2018

Stuff

So ... I'm finally out of the prison they call "The Hospital." I have to say they took remarkable care of me. But the stay was still miserable. I was going to stay in the little stone house on our pasture. [It started life as a trading post in the late 1840s,] But that won't happen for a few days.

I came home to spiffy house thanks to my daughters. And Annie made a chocolate cake. I'm posting this and going to bed for a while. Everything is difficult.

Now this: These two photos I'm calling Bright Eyes and Flower Contemplation. Enjoy.



Thursday, December 28, 2017

O Reader's Essay: MOM



MOM

     In Britain she would be Mum, in much of America, Mom, and in Wales, Mam.
     I come from the UK, so Mum was the standard. She passed away several months ago aged 98, and those in the know made a few nice comments on this blog and back-channel.
     So this is a brief review of her life.
     She was born in 1919 to older parents. Her father was in his 40s, having risen to company secretary in a very large textile company in Bradford. Her mother had nursed a sweetheart for ten years before he died of MS and was well into her 30s. They met during the First World War at a Gilbert and Sullivan choir practice in London, when he was down south on business and where she came from. He’d put on shows at the Bradford Alhambra Theater, and my grandmother came from a theatrical background and was a singer, accustomed to doing most of the (cruel) older women parts in G and S. They clicked, they married, and along came a single daughter who was doted on.
     Her world came crashing down when her father died suddenly when she was 13. Her mother got away from Bradford as soon as she could having never been truly accepted as a southerner, and finally settled back in London.  My mother grew up but then went back to the Bradford area by accident when training as a nurse during the Second World War. (Nearly seventy years later we took her back again and met school friends she hadn’t seen since a child.)
     My grandmother, when not singing became manageress of a large holiday hotel that put on concerts for residents. On a war time family visit to join her, my mother met the master of ceremonies and official comedian who was there for a resident two week stint. He was a widower, in real life a company secretary like her father, also an entertainer like her father, and more than old enough to actually be her father. It ticked the boxes. On his side he wanted to join a family he really clicked with and the easiest way was to marry the one unattached female in the party. Remnants of that family still remember him with great affection, which is more than my mother did.
     Hence my parents got married, both with totally unrealistic expectations.
     As a child I regularly saw my father on the stage – “That’s my Dad” “Shuuush” – and also both parents performing. They did a routine impersonating two well-known singers in the UK, Ann Zeigler and Webster Booth. They would announce that Ann and Webster had been booked, but weren’t able to come – so instead… My father would be in drag as Ann Zeigler and my mother would do a Vesta Tilley routine as Webster Booth. There was an old vaudeville act in the UK for about 50 years called Wilson, Keppel and Betty who did an Egyptian sand dance, and who kept going so long they used to change the girl playing “Betty” about every seven years. My parents did a pared-down version of their act with just the two of them – I remember that too. I used to think my father’s act was wonderful (and my mother’s contribution not bad) – only later in time did I discover where he stole all his material from. (Towards the end I did some writing for him, which was probably even worse, but that’s another story).
     Not that long after they married my mother embraced a religion that dealt in certainties. She still supported her husband in shows and an annual pantomime at a huge American air base near us, but now drew the line at supporting him in ladies’ night at the Masonic Temple, where he was Grand Master. Keeping up appearances and getting on in business were almost paranoid obsessions of his, and eventually he did a runner.
     He used to say his first wife led him a dog’s life – he was a little more careful about what he said about my mother to me – but his subsequent third marriage was equally dismal for him. My mother summed him up as very funny on stage but a real misery off it. I suspect she had a certain prejudice by that time, but there was probably a kernel of truth in it.
     Anyhow, this is about my mother. She worked full time for the religion she had adopted for several years and then as the sole breadwinner went back to nursing. She kept on nursing all her working life, ending up working in a nursing home where she was older than most of the residents. She loved her work and was nothing if not determined.
     We moved from the suburbs back into London to care for my grandmother when she grew old, and there my mother met her second husband, E. I left home to do voluntary work as soon as I could in my late teens and I think that was an arrangement that suited all of us.
     My abiding memory of my mother over the years was the performing. The meetings she attended gave a certain limited scope for theatricals, which she embraced with a gusto that meant you never knew what you were going to get. Quite often it wasn’t even what she’d planned – she had the let’s-drop-the-props-and-bump-into-the-scenery quality about her – but could improvise. When it was her turn on the platform we would settle down and wait for it.
     There’s an anecdote I’ve told before on this blog, but it sort of fits here again. One of the religious meetings I attended with her was called a school. People rehearsed before an audience how they might approach different sorts of people with their message in such a way that they might get a hearing ear.
     My mother was never contents with just doing it straight. She would dress up for the part. As a little lad I remember she had one special friend who we shall call Eve. They were often put on together. The audience loved it. You never knew what you were going to get. The intent may have been serious, but the results were often Laurel and Hardy.
     We had a meeting room on the outskirts of London that had formerly been a welfare institute for Railway workers. Using what was already at hand, it had quite a high raised platform at one end, and the backdrop was three large panels. The middle one was brought forward about three feet. It meant that you could enter from the rear, either stage left or stage right, walking around the middle panel.
     So picture the scene. My mother appears from rear stage left and sits at a table with her props. She is shelling peas or something similar from that era, wearing an apron and humming a nameless ditty. Everything is lined up for the Oscars. Move over Marlon Brando, this is method acting for all it’s worth.
     Eve is supposed to mime knocking on a door so that my mother can rise and greet her, invite her inside to then be disarmed by Eve’s presentation. Perhaps they had some illustration lined up that would fit the scene. Who knows?
     So my mother sits there, humming away while fiddling with the vegetables, but starts looking less than pleased as long seconds go by. There are appreciative titters from the audience. They’ve no idea what this is about, but it looks like it will be a lot more interesting than the previous part of the program. My mother frowns, and in the loudest of stage whispers known to the hard of hearing mutters out of the side of her mouth - “Eve....Eve... Come on, come on...”
     Nothing happens. My mother scowls. Now she could stop a naughty boy in his tracks at a hundred paces with just a glance. Next, she gets up from her table and with a look like thunder goes to investigate rear stage left.
     The split second she disappears rear stage left, Eve bounds into sight from rear stage right, to be faced with a totally empty platform – no partner, and an audience now in hysterics. The look of first surprise and then panic that covered her face has stayed with me down through the years. The presentation never recovered.
     The years went by and she and her husband left London and came to live near us. From this era, her granddaughter has a memory of being teamed with her – most unwillingly – in a sketch where an older person helps a young person to reason on certain matters. My mother made a big production of presenting my daughter with a notebook and pen, instructing her to write down the litany then presented. My daughter was of an age where she pretended to write and allowed her mind to wander elsewhere, only to be brought up horribly short by her grandmother demanding she read back what she had written… They used to time these playlets and ring a bell when your time was up. If ever “saved by the bell” was apt, this was it.
     The group regularly put on large social gatherings where different ones did their party pieces. (Some would be dire, some would be quite good, and as I became older and respectable I generally escaped by being behind a camera.) Well into her mid-80s, now widowed, my mother would recite Stanley Holloway and Moore Marriot monologues that Brits of a certain age would remember. I would be out there in worry-mode, mouthing the lines along with her in case it all went pear-shaped, but she remained word perfect and had the Yorkshire accent nailed.
     Her last years were sad. She lost her mobility, then her sight, then her hearing to a large degree. We fought and won battles with officials who can only “follow procedures” and watch their own backs to keep her in her own home as she wished as she went from using a motorized wheelchair in supermarkets (running down other shoppers) to a wheelchair we propelled, to permanent bed and carers around the clock.
     Everyone in the area knew her. Her very direct old-school proselytizing was well known, and even though neighbours didn’t share her views they would never turn her away and had a huge affection for her, attending her memorial service along with the carers.
     For me, a history and a lot of memories.


Friday, November 17, 2017

Lost in Paradise or the Further Adventures of O. Reader



MORE VACATIONEERING

     Well, the Occasionals have been away on vacation again. For the last ten years we’ve only been able to go away by arrangement, organising care for my mother while absent. Since she passed away in October, we took off this month for a whole two weeks to North Wales.

     Most of our first week was spent at a caravan site called Sea Breezes. I should have taken warning from that. The wind raged across the site, barely protected by an ugly sea wall. Fifteen years ago the area had its own version of the New Orleans disaster, when the existing sea walls were breached and the whole area went underwater. Of course we only found this out when we arrived. Still it was nice to crash out in a caravan – even if buffeted by the wind – and not be on the end of a telephone.

     Our second week was a lot better with a flat in the center of Chester.                                   

     We’d passed through Chester on vacation a year or two back and wanted to return. It’s a very attractive city with a speciality of old shops on two levels in the main streets, all dating from the Victorian era or earlier. The place goes back to Roman times and the museum has a fine collection of engraved Roman gravestones, which each tell a personal history. Apparently as the city walls fell into disrepair the locals used to steal these stones from the abandoned Roman cemeteries. Then in the 19th century when the walls were properly restored, many of these stones from the past were retrieved, cleaned up, put on show and told their stories.

     The city is very close to the Welsh border and Welsh could be heard in the streets on occasion. Apparently the bad feeling between the Welsh and English meant that several clock towers in Chester have clocks on three faces but the side facing Wales is blank. To coin a phrase, they weren’t going to give them the time of day.

     The first thing we did was to behave like the total tourists we were, and took the tour bus. It was actually a much restored London bus from the time of the first World War – open topped and taller than modern vehicles meaning you had to duck to avoid being decapitated under modern Chester Bridges.

     The commentary was slick and professional with well-rehearsed jokes and we learned a bit about Roman Chester and its subsequent history. However, there was a lesson for modern writers and commentators. Trundling past an ancient cemetery we were told that here was the grave of the writer of Tom Brown’s Schooldays. That’s Thomas Hughes, and no he wasn’t – he was buried in Brighton. And also the father of postage stamps, Roland Hill, and no, he wasn’t buried there either but in Westminster Abbey.  Also in the same cemetery was supposed to be someone who, with multiple births, gave birth to 33 children. Ouch. I didn’t get a name so didn’t check that one out. But once you find a glaring error of fact in an account, it calls into question everything else you’re told. As someone who writes on history, where the line between facts and opinions is easily blurred, there’s a lesson there.

     Twice during our stay we travelled to a Welsh language religious meeting. Originally we planned to go to one in Bangor but that one is always filmed and shared on the internet. The thought of my strangulated Welsh being watched by mystified people in Patagonia did not appeal, so we went to a nearer location. While waiting for their own Hall this group hires a room in a Welsh castle.

      It was actually a place Mrs O and I visited more than 20 years ago. I used to organise podiatry seminars and our committee suddenly found we had too much money. We had to spend some before the end of the year, so arranged a weekend committee meeting at this castle, and had a medieval banquet thrown in. That was an experience. We were all given huge bibs to protect our clothes and then set to work with fingers on medieval food using medieval wet-wipes. We were served copious quantities of mead by buxom wenches, and then a Welsh choir came and sang at us. The visit wasn’t QUITE as exciting this time.

     We walked around Chester on top of the city walls, which is a two mile circuit and generally quite high. And we went to Chester Zoo.  As Tom Paxton sang: “We’re going to the zoo zoo zoo, how about you you you, you can come too too too” etc.  My daughter was a little girl the last time we visited a conventional zoo. I think we once did a safari park in the interim, where you drive through enclosures and small monkeys leap on your car and scream obscenities, while trying to wrench off your windscreen wipers; but we have been zoo-less for many years.

     I have to say it was very impressive, with a huge fanfare given to its programs to breed endangered species. We saw all the usual animals you would expect to see. But there was a lot of walking. And I surprised myself, I got tired. VERY TIRED. As soon as we got back to base we cracked another bottle of Cava and then I was done for. Flat out on the bed, Law and Order on the TV - out like a light… But I don’t remember feeling so tired since the day A LONG TIME AGO when I was single and pedal cycled from Cardiff to Manchester for a special meeting with a typewriter tied to the back of my bike (don’t ask) and then from Manchester to London, 180 miles with a headwind. The latter stage took 18 hours and I collapsed into a hot bath at the end. It was half an hour of sheer bliss. And then I found I was totally seized up and unable to get out… (Compartmented into my personal collection of one hundred worst moments of my life…)

     I did a bit of writing and a bit of reading. I was supposed to be preparing some lessons for a seminar I’m helping to take when I get home, but that sort of fell by the wayside. I will just have to be busy with that next week. My main non-fiction reading was a recent biography of Josephine Tey. I did write a number of critical paragraphs on this, but Tey really could do with an essay on her own. But then, since American readers have probably never heard of her, I junked most of it.

     To-morrow we leave and I am left with the usual feeling.

     I think I need a vacation.

     To get over this one.