The annual fast. — gibberish


My daughter’s take on my take on her take on things.

Hitting the ground running

I’ve said a lot about resigning and focusing on doing what makes me happy and that I’ve been studying. But I think I’m yet to actually go into what I am actually going to do.

As of next Friday, I will no longer be in a full time job. I’ll be doing a full time PT course and using my new found knowledge in nutrition to start coaching people.

In January I have started coaching a few people, my dad included in the mix. One of the biggest challenges and rewards I could get! It makes for an interesting dynamic to coach your parents, you say one thing, they nod and agree and maybe do some of it (mum between August and December), then they start to implement it (January) and absolutely smash it.

Or, they listen, but they stick to what they’ve done before (dad) and I have to…

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11pm, Friday January 31st 2020. The hour the music dies.


Just because I’ve shut up about Brexit recently doesn’t mean I feel any less saddened, deeply saddened, by the UK’s xenophobic attitude towards its island nation state.

We now have a fool, a dangerous one at that, at the helm, leading our country into a black hole, one that no right-minded economist recommended.  One where international trade deals are talked of in multiple-year time frames, some even in decades.

The fool continues to gainfully employ the likes of Jacob Rees-Mogg – a man who in any other capacity would find himself on the dole queue for his outrageous sociopathic views and utter disregard for humanity, despite his fervour about the Roman Catholic faith – a faith that proclaims love of thy neighbour; ABOVE ALL ELSE.

As the bell tolls I will be contemplating what it means to live in Scotland – a nation that rejected this nonsense, OUT OF HAND – although that doesn’t mean I will be banging the drum for Scottish Independence.

One of its 2014 clarion calls was that Scottish independence was the only way to guarantee remaining in Europe (at best an optimistic call even then).  That prospect, (or at least the prospect of re-entry to the European family), if the last 36 months or so is anything to go by, seems an unlikely one now and a colossally difficult task.

For those bunting-waving leavers that will be popping their English sparkling wine and guzzling their John Smiths on Friday night, you were warned of the consequences of this before you voted for change ( I’m particularly looking at you Sunderland and South Wales).

I won’t be schadefreuding you in years to come.  I’m doing it now.

London didn’t vote for this nonsense, Northern Ireland didn’t vote for it and certainly Scotland didn’t vote for it.

Even Nigel Fargae didn’t vote for this outcome.

God bless Europe.

 

 

What to do with the EU Commemorative filth. An idea that may do just a little good.


I’ve read about people saying that receiving the new 50p coin can be compared to the reaction you get as a Scot when you give a London cabbie a Scottish tenner.  People are saying that they’ll refuse them.  That’s not fair on the shopkeepers who try to pass them though.

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I have a better idea.

Let’s do something constructive.

I will give them to homeless folks I meet on the street.

Wanna join me in this?

The annual fast.


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My daughter Amy, a nutrition coach, is helping me this year with a plan and it’s off to a very good start.  (You should try her.  She’s amazing.  Contact me and I’ll give you her details.)

I’ll give you a taste of her success to date – 6% body weight loss in three weeks.

My wife has also probably lost more weight than she ever had previously on a diet.  It’s my daughter’s regime that’s keeping her on track this time.

But it’s early days compared to my 160 day alcohol-free abstinence in 2018 (including attending PrimaveraSound completely without a drink.  You can read about the impact of that here.

But it’s good.

21 days in.

Intermittent fasting all the way and an average calorie intake of maybe just over 1,000 a day. (Although my daughter coach insists that is too low and will be putting me a short rebalancing phase soon – when I get to 8 -10% loss.)

One thing I am trying this time round is to not simply replace alcohol with alcohol-free beer which, although excellent these days, simply reminds me that I am not drinking alcohol.  And, in any case, my tipple of choice is wine, not beer, and alcohol-free wine is repugnant.

I do like a bunch of frozen grapes mind you, of an evening.

I think a key to this has been going veggie for the last three weeks, strictly so.  I have eaten some terrific meals – including the best cauliflower cheese I have ever tasted in my life.

I’ve also discovered a superb new stir-fry sauce consisting of light soy, palm sugar, fresh ginger and lime leaves.  To die for (except, ironically, it might do the opposite).  Last night we had it with mushroom, carrot, fennel, radish, onion and red pepper.

If i get any support for this I’ll put the recipes up.

Pride and Prejudice* (*Sort Of) at The Lyceum Theatre, Edinburgh and on tour: Review


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Nope, I’ve never read P&P.

I’ve never seen any of the movies or the TV adaptations – the nearest I ever got to it was Bridget Jones.

I wouldn’t know my Heathcliffe from my Jimmy Cliff.

And I’ve never read any Jane Austen in my puff – in fact I don’t even know who the bloke is.

But I read the Wikipedia synopsis (a good tip before seeing any period drama IMHO) on the way to the theatre.

I needn’t have bothered, because the storytelling in this truly wonderful production is first rate. I could have gone in colder than a monkey in a Walls factory and still emerged off pat with the storyline.

The cast of many characters (and referenced participants) is significant, and yet you’ll not miss a beat in this rip-roaring triumph of comedy theatre.

The six actors, all female, play 21 different characters plus, let’s call it five, assorted house maids, a total of 26 roles, making an average of 4.33 characters per actor.

That’s a new character for every 5 minutes 45 seconds of run time.  And yet at no point do we lose track of who is who and what is what in this runaway train of a tale.

It’s bawdy, it’s musical, it’s completely hilarious.

The crowd cheered, booed, clapped and rose as one in adulation as the curtain fell at just before 10.30 pm tonight.

The reason for this?  Tori Burgess, Felixe Forde, Christina Gordon and in particular Hannah Jarrett-Scott, Isobel McArthur (the writer) and Meghan Tyler (also a writer – of Fringe First winning Crocodile Fever).

The directing, by Paul Brotherston is miraculous.

We’re treated to Londoners, Scots, Yorkshiremen and women and full-on Northern Oirish characters in a melange of Babelic proportions.

And yet, it all holds together, melds and synergistically builds into a thing so beautifully nuanced, so gut-wrenchingly funny that you wonder how it ever came about.  And still the story remains true and comes through.

Lovers of P&P will have no issue with this translation.

The all-female cast not only allows us a bit of fun with cross-dressing and assumed voices, but also a bit of cheeky girl meets girl, girl is smitten by girl innuendo.

The laugh out loud moments in this are countless.  Five in the first minute alone thanks to Hannah Jarrett-Scott’s complete ownership of her four main characters and her role as narrator in chief.

It’s brilliant.  Just brilliant.  See it.

 

1917: Movie Review.


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I have a recurring dream.

It’s a common one.

In it I am a soldier trying to evade the grasp of my enemy in a war zone.  I sneak around fields, towns, villages often being spotted, running for my life.  Sometimes I spot the enemy from afar preparing to attack and a sense of dread overwhelms me.  It last all night.

The dream interpreters, not particularly surprisingly, suggest this reflects some form of conflict one are facing in one’s life.

Today, in the cinema I witnessed that dream come to life, imagined by Sam Mendes in a Hades like no other.

It’s terrifying.

Totally and utterly terrifying.

It’s a true story based on the experience of Mendes’ grandfather, Alfred, who shared a fragment of what happened with his grandson.

Mendes’ career is largely theatre-based, and many film critics believe theatre makers do not make good film makers.  Yes, they might be strong on dialogue and characterisation but they tend to be weaker on cinematography.

One way to resolve this is to create your movies with Roger Deakins, surely the greatest cinematographer in history – given not only his ridiculously great eye but also the technology he has to further enhance his art.

There can be NO doubt that this is as much Deakins’ movie as it is Mendes’.  He was Oscar nominated 12 times before he finally landed one for Bladerunner 2049 (along the way his greatness has blessed No Country for Old Men, Skyfall, The Shawshank Redemption, Fargo and The Assasination of Jesse James…). This will be his second.  There can be no doubt about that.

The combination of stunning grading, extremely long takes and unworkeoutable steadycam technique defies logic, description and understanding.  It is mesmerising.

Remember the first 20 minutes of Speilberg’s Saving Private Ryan, arguably the greatest War movie of all time?  Would you agree with me that the remaining 90 minutes is patchy at best?  Well, 1917 begins more slowly, but no less electrifyingly, as we settle into Deakins’ art.  The difference though is that the remaining 90 minutes of 1917 grab you by the throat and do not let off.

It’s completely overwhelming.

Technical movies of this competence don’t always have great acting performances.  And this won’t win George Mackay an Oscar, probably not even a nomination, but he does not let the side down, neither does his supporting actor Dean-Charles Chapman, but although this is SUCH a human story it’s the sheer scale and bravado of the overall thing that is what makes it such a compelling piece of filmmaking.

Some will lament the fact that this is so, but I believe Mendes has found the balance.

One other thing; Thomas Newman’s soundtrack is so gripping, so menacing that jeopardy is maintained for its entirety – it’s a significant achievement.

He has created a nightmare vision that out-horrors even the likes of The Exorcist, because this is no fantasy, this is reality, and it feels like it.

Truly a seminal cinema experience.  This will only be half the movie on your TV set so get up and get down to your local big screen, before it’s too late.

Peerless.

The movie of the year (although I’ve yet to see Parasite) in an already epic year.

Note:  I have now and I think 1917 is a better movie.

 

 

 

Worth Dying for: The power and politics of flags by Tim Marshall: Book Review


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The title is a statement, not a question.  So is the author suggesting that, yes, flags are worth dying for?

In this terrific book Tim Marshall explores, over about 300 pages, why it is that flags have become such strong semiotic devices across the 21st century globe.

As Amazon says in its splurge; In nine chapters (covering the USA, UK, Europe, Middle East, Asia, Africa, Latin America, international flags and flags of terror), Tim Marshall draws on more than twenty-five years of global reporting experience to reveal the histories, the power and the politics of the symbols that unite us – and divide us.

I absolutely loved this.

Marshall has a nice line in sarcasm although he keeps that to a minimum.  Largely the book is a fascinating historical insight into the power of flags, usually three colours or less.

Why green is so important in Islamic countries.  Why blue can represent sky, sea and many other things.  Why red is typically the colour of blood.  Or, of communism.

Why maybe a half of global flags have a religious significance, almost all of those crosses are, yup, crucifixes.

Why regions congregate around themes.  Ever wondered why all the Scandi flags are left biased crosses, just with different colour ways?  Find out here.

It’s not just political flags either, we read about the chequered flag, the Olympic flag, the red cross and more.

A great read and a great opportunity to increase your score on University Challenge.

 

Upright. New TV series by Tim Minchin.


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I’ll start by confessing that Tim Minchin has done nothing.  NOTHING for me in his fairly long and, largely, highly succesful career, so when it was suggested I watch this I doubted I’d get past episode one.

How wrong could I have been?

By the end of episode eight, binged in two days, the tears rolled down my cheeks.

It’s bawdy, ballsy, rude, ridiculous, hilarious, breathtaking, touching, sincere and is based on a largely unpredictable storyline that twists and turns like a Tasmanian Devil.

It also features a stand out, frankly equal footing, performance by 19 year old Australian actress, Milly Alcock, remember that name, she’s the next Margot Robbie.

A truly excellent TV series, right up there with Succession, Fleabag and Chernobyl as my favourites of 2019.

 

Glastonbury 50. The official story of the Glastonbury Festival: My review.


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The Glastonbury Festival of Contemporary Performing Arts celebrates its 5oth anniversary this June and I will be there, for my fourth festival.

In fact although Glastonbury is 50 it’s only the 36th staging as there was a big hole in the 70’s and several ‘fallow years’.

For me it is the greatest music festival in the world, although it is far more than a musical festival, hence its formal name – The Glastonbury Festival of Contemporary Performing Arts.

Did you know that at 200,000 attendees (135,000 tickets, 65,000 staff and volunteers) Glastonbury is more populous than Bath.  The site is bigger than my home town of South Queensferry.

These coffee-table type affairs don’t usually interest me all that much, but anyone who has been to, and fallen in love with, the festival will, like me, be drawn into every minuscule detail of the event.  I lost two long afternoons over the Christmas break devouring every single word and every single picture that tell the story in just the right amount of detail.

Performers share their, universally enthusiastic, memories (of course – it’s pure fan boy).

The Eavis’ father and daughter impressarios share their highs and (many) lows and we can be as geeky as we like, as readers, in dissecting the line ups and remembered highlights.

For me, my two all time highlights are described, both as it happens by Emily Eavis.

2012’s Radiohead secret gig on the Park Stage in the pouring rain and 2013’s masterful moment during Stagger Lee by Nick Cave and the Bad Seeds, pictured below.  I was about 50 yards away from this.

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Here it is in its entirety.  She rises from the crowd at 7’45”.

I love this comment on Youtube.  Hope it’s true…

To let you all know, I was the one that put the girl on my shoulders. My mate had Nicks foot on his shoulder and the girl in white popped up behind me, she was flustered and asked if i would put her on my shoulders, i accepted. When she came down she said ‘you’ve just made my entire life better’ then gave me a kiss on the cheek and disappeared, not my girlfriend, just a random girl that wanted a moment with nick. 🙂

 

 

Little Women: Movie Review.


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I haven’t read Little Women by Louisa May Alcott, neither have I seen any of the previous film incarnations of her famed novel, so I came to this with no expectations other than that the cast is stellar and the director, Greta Gerwig, is highly noteworthy. (Lady Bird was superb in my opinion – next up is Barbie, written by Noah Baumbach and starring Margot Robbie – that should be interesting.)

What interested me structurally about the movie is that it is essentially both an autobiography and a fiction – the novel itself is represented as little stories but the narrative describes how the book came about.  For some critics this has been problematic as it requires (or allows if you prefer) a considerable amount of time-switching, that is not always captioned for the hard of intelligence.

The movie is an emotional rollercoaster with peaks of hilarity and depths of real pity as the four March sisters, that make up the main protagonists, live a struggling middle class life surrounded in close proximity by deep poverty and significant wealth.  It is this relationship with money, and the pursuit thereof, that is the central philosophical backbone of the movie and allows for many excellent vignettes and clear messaging that money is not the root of all happiness.

On the side of the rich sit three excellent portrayals; Timothy Chalomet (outstanding as the main love interest Laurie), his wonderful and generous of spirit grandfather (played beautifully and touchingly by Chris Cooper) and the ‘evil'(ish) rich Aunt March (Meryl Streep).  Laura Dern continues her annus mirabilis as the girls’ mother (it complements her performance in Marriage Story.)

More than once the beautiful tableaux’ that Gerwig sets up reminded me of Dorothea Langue’s Migrant Mother.  In that it resonates love and tenderness in the face of adversity.

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This is a tremendous piece of film making in every way.  It’s funny, moving, beautiful to look at, poignant and thought provoking.

Saoirse Ronan is excellent, as always, but Florence Pugh’s ability to appear both 14 and 26 is even more remarkable.  Emma Watson is solid and poor little Beth is played touchingly by Eliza Scanlen.

Overall it’s a great ensemble production with the real star of the show, Great Gerwig.

Bravo!