Archive for the ‘german’ Category
We parked up by Goldhawk Road tube (always echoes of Jimmy the Mod for me) and walked back past the Pie, Mash, Liquor and Eel shop to my most unloved venue in London, the Empire in Shepherd’s Bush. Stephen Still’s blast from the past included his underground classic ‘51.5076 0.134352’ and concluded with ‘For What It’s Worth’ which resonated in a particular way after another week of global economic disintegration. What is it worth?
There’s something happening here
[the day before yesterday rounds off a 20% FTSE fall]
What it is ain’t exactly clear
[although I think we’ve all got a good sense of broadly what territory we’re in – how we got there is a bit more confounding]
There’s a man with a gun over there
[currently a cold-hearted woman, life-long member of the NRA: “our leaders, our national leaders, are sending soldiers out on a task that is from God. That’s what we have to make sure that we’re praying for, that there is a plan and that that plan is God’s plan.”]
Telling me I got to beware
[are they really going to elect a man who keeps calling the electorate “my friends” in a manner devoid of warmth or friendship?]
I think it’s time we stop, children, what’s that sound?
Everybody look what’s going down
There’s battle lines being drawn
Nobody’s right if everybody’s wrong
[there’s a real opportunity here, with the merry-go-round ground to a halt, to get off the ride that goes nowhere]
Paranoia strikes deep
Into your life it will creep
[anxiety is seeping out of every opening crack]
It starts when you’re always afraid
[yet fear is what holds us back individually and collectively]
You step out of line, the man come and take you away
We better stop, hey, what’s that sound?
Everybody look what’s going down
Stop, hey, what’s that sound?
Everybody look what’s going down
What’s that sound? It’s mud falling on a coffin lid. It’s ancient song shot through with deepest pain. It’s the sound of a single man burying 20,000 bodies one by one. On Tuesday Rev. Leslie Hardman MBE died. He featured as a key character in a docudrama, The Relief of Belsen, commissioned by Channel 4 which was shown almost a year ago to the day (15.X.07). He was one of the first Allied soldiers (an army chaplain) in to the Bergen-Belsen death camp in North-West Germany when it was liberated in May 1945. Auschwitz had been liberated by the Russians a couple of months of months earlier but it was Belsen that gave us in Britain our first terrifying view of what was going down. This was Richard Dimbleby’s report from the camp…
“Here over an acre of ground lay dead and dying people. You could not see which was which … The living lay with their heads against the corpses and around them moved the awful, ghostly procession of emaciated, aimless people, with nothing to do and with no hope of life, unable to move out of your way, unable to look at the terrible sights around them … Babies had been born here, tiny wizened things that could not live … A mother, driven mad, screamed at a British sentry to give her milk for her child, and thrust the tiny mite into his arms, then ran off, crying terribly. He opened the bundle and found the baby had been dead for days.
This day at Belsen was the most horrible of my life.”
Leslie Hardman was a man who knew what’s worth what. He insisted on burying each of the 20,000 corpses that confronted him as an individual with an individual ceremony (no question of mass burial). He restored in death the dignity they had been denied in life.
In a tribute to him on Radio 4 this morning, a resonant phrase from Kierkegaard (via psychiatrist Viktor Frankl) was cited to capture the man he was : The door to happiness opens outwards. Leslie Hardman dealt with the chaos he experienced in the front-line by dedicating himself to the well-being of others.
As Jonathan Sacks (the Chief Rabbi of the UK) put it on the same radio programme: He Chose Life. Now I always thought – and this was reinforced by the Glasgow office of Channel 4 which has the words engraved on the glass of the entrance – that “Choose Life” comes from FilmFour’s Trainspotting. But apparently it comes from Moses in the Old Testament: ” I place before you today life and prosperity, death and adversity. … Choose life that you and your descendants shall live” (which echoes what his predecessor and my namesake was told: “You may choose for yourself, for it is given to you.”)
Now Jim (the God, not the Mod), much though I respect him, summarised his approach as being to “get his kicks before the whole shithouse goes up”. As things fall apart, I’d say the rock-striking prophet is a better bet than the pose-striking rock god: Choose Life. Choose sustainable living. Choose actually creating something instead of gambling nothing. Choose holding hands not holding hostages. Choose what’s going up. Choose what’s of real worth.
I’m sitting here in the James Joyce Foundation in Zurich with in front of me a copy of ‘Thom’s Official Directory of the United Kingdom of Great Britain and Ireland for the year 1904’ published in Dublin by Thom & Co. (Limited) of Middle Abbey-Street. 1904 is the year in which Joyce’s Ulysses is set. This big red volume is the reference book Joyce used to recreate the detail of Dublin from exile here in Zurich. Joyce came to the city on leaving Dublin in 1904 (hence the choice of date for the novel – it is Dublin as fixed at the point of exile) accompanied by his other half, Nora Barnacle. They moved on to Italy/Trieste, back to Zurich, and on to Paris. Much of Ulysses (1922) was written here in Zurich. Joyce left occupied France in 1940 for Zurich where he died in 1941 (aged 59) and is buried.
So I’m flying in this morning with my iPod Shuffle on and up pops Van the Man singing ‘Too Long in Exile‘ with the line “just like James Joyce, baby / Too long in exile” – one of those meant to be moments.
And on the subject of Abbey Street and occupied France, in my hands is a copy of a classy thriller ‘The 6th Lamentation‘ by William Brodrick whose two central characters are a monk and a victim of the occupation of Paris. Another key character is a refugee to Switzerland. So I’m psyched for the Stiftung James Joyce.
I’m welcolmed by a friendly American academic and by the Director and prime mover of the Foundation, Fritz Senn, a Joyce specialist and as near as a Swiss man can be to being Irish.
In the back of Thom’s is an advert for Uska-Slan – Water of Health – in the form of Cantrell & Cochrane’s Table Waters. Just the kind of ad Leopold Bloom would have dealt in. I’m fresh from a lunchtime conversation which included the benefits of Badoit and the insanity of bottled still water. There’s a wonderful passage in Ulysses about water I heard declaimed atop the martello tower in Sandycove, South Dublin on the centenary Bloom’s Day on 16th June 2004.
I can, for example, look up my sister-in-law’s street in Ballybough (PoorTown) and see exactly who lived there in 1904. Mrs Grace at No. 24. A draper at No. 1, a jeweller at No. 14 and Mr John Killen of the GPO at No. 16. It tells you where the pillar boxes were (“Pillar Letter Box adjoining Raglan-road”). I’ve just spotted my father-in-law’s namesake (Murphy, James, esq.) at No. 26 Clyde-road which was valued at 70 pounds – and a certain William McGee at Cobourg-place (next door to Jasper Monahan the spirit grocer, which I assume is a far more colourful name for an off-licence).
My wife has now lived in London – many miles away from the cemetry at Kilbroney, Co. Louth where James Murphy after James Murphy is buried – for more years than she’s lived in Ireland – she went past the mid-point a couple of years ago, very significant really.
When I was in Ireland for the summer holidays last year, staying at said sister-in-law in Ballybough, I picked up a copy (at the Irish Museum of Modern Art in Kilmainham) of ‘That Neutral Island‘ by Clair Wills about the Irish home front in the Second World War. I often wonder what similarities and differences there are between the Irish neutrality and the Swiss. Joyce spent most of the First World War (July 1915 to October 1919) in Zurich, as well as getting the permit for entry from occupied France in late 1940.
A few weeks ago there was a big art robbery just outside Zurich from another Foundation – the Emil Buhrle Foundation. Buhrle was a Zurich-based, German born industrialist who sold arms to the Third Reich. After the war 13 paintings in the collection, which was raided in February by armed masked men, appeared on a list of art looted by Nazis from Jews and eventually he handed them over, getting some compensation from the Swiss government. The provenance of other works in the collection remains shady. Much like the Russian collection currently on show in the Royal Academy, London (in the From Russia exhibition), where the British government had to provide an official ‘safe passage’ document to insulate the dubious pieces from any chance of investigation and return to their rightful owners – Russia’s art galleries are peppered with works ‘nationalised’ after the Revolution or looted in the Second World War, many ultimately from murdered Jews. So one has limited sympathy for the Emil Buhrle Foundation as whose work the masked raiders with the Slavic accents actually stole is a moot point.
I recently came across this quotation by the writer and Nobel Peace Prize winner (and man behind another foundation, this one a Foundation for Humanity, which bears his name) Elie Wiesel (through A.Word.A.Day – a daily email with an interesting new word – might have been Joyce’s cup of tea [my philisophical Zurchner taxi driver earlier today was tickled pink by this British idiom]):
“Neutrality helps the oppressor, never the victim. Silence encourages the tormentor, never the tormented.”
“It is necessary only for the good man to do nothing for evil to triumph.”
Reckon I’ll give the last word to Van the Man (not to be confused with White Van Man – the Buhrle robbery was carried out in a white panel van) and his collaborator on ‘Song of Being a Child‘, Peter Handke (not Swiss but Austrian like Adolf Hitler and Simon Wiesenthal, born in 1942, also a collaborator with Wim Wenders [Wings of Desire], a writer who has lived in self-imposed exile in Berlin, the US and for the last two decades Paris):
When the child was a child
It was the time of the following questions
Why am I me and why not you
Why am I here and why not there
Why did time begin and where does space end
Isn’t what I see and hear and smell
Just the appearance of the world in front of the world
Isn’t life under the sun just a dream
Does evil actually exist in people
Who really are evil
Why can’t it be that I who am
Wasn’t before I was
And that sometime I, the I, I am
No longer will be the I, I am
A little more magic from the Hiberno-Germanic melting pot.
Warum bin ich ich und warum nicht du?
Warum bin ich hier und warum nicht dort?
On Monday the artist Mark Titchner pulled by Channel 4 HQ to give some background to his new work, unveiled that day in front of the building, Find Our World in Yours. It is the latest incarnation of the Big 4, a 40 foot high figure 4 marking the 25th anniversary of the Channel and the advent of the Big Art Project, a bold cross-platform (TV, web, mobile, real-life) initiative focused on Pubic Art. Each quarter the Big 4 is reskinned by a different artist and this quarter it’s Mark‘s turn.
His approach involves punctuating the metal skeleton of the 4 with slogans in a style derived from trade union banners. Into the upstroke of the 4 is built a video booth, with echoes of the Right to Reply one at 60 Charlotte Street back in the day. Passers-by, staff or anyone who wants to can pop in and leave a message with their thoughts about Television. A selection of these is played out each week on the TV screens that pepper the framework. The main slogan reads: Find Our World in Yours, Find Your World in Ours.
What was most inspiring about hearing Mark talk was the eclecticism of his inspirations. In art history these ranged from Renaissance depictions of religious ecstasy to Duchamp op-art, from 60s psychedelia to contemporary advertising. And then beyond the art world he used everything from record labels to the aforementioned trade union banners, from the Black Panther movement to corporate mission statements from which to springboard ideas.
I’m a great lover of such eclecticism. At school I remember being given a book by velvet-jacketed Mr Fitch RIP (think Rob Newman’s Jarvis meets the Cyril from That’s Life) – it was a copy of Paradise Lost edited by someone called Broadbent (or similar) which had the most fantastically eclectic footnotes, from the biblical to the scientific, from the geographic to the historical, and all points between. Apart from turning me on to literature (I ended up studying English, French and German literature), it made me realise how interconnected all these disciplines are and how essential those connections are to creativity.
Which brings me to a peak of creativity, my favourite book, James Joyce’s Ulysses. One of the things I most love about the book is the fabulous ecelecticism of the novel – whether you want to know about the water supply of Dublin or the dynamics of grief, the family life of Shakespeare or the history of Irish Republicanism, it’s all in there. And, of course, the art of advertising (Leopold Bloom is in the business) which brings us full circle back to Find Our World in Yours which, like Channel 4, has advertising in its life-blood.
Exodus: Movement of Jah people
Bob Marley recorded Exodus in punk London (he referred to London as his “second home”). He took refuge in the city after having been hit by a bullet the previous year in a politically motivated assassination attempt. The record was released on 3rd June 1977.
The ship Exodus 1947 sailed from the small port of Site near Marseilles on 11th July 1947. On board were 4,515 immigrants from post-war Europe, including 655 children. It was heading to British Mandate Palestine.
As soon as it left French territorial waters British destroyers shadowed it. In the wake of the Second World War, the British had severely restricted immigration to Palestine and eventually decided to stop illegal immigration by sending ships running the gauntlet of the British patrols back to their port of embarkation in Europe. The first ship to which this policy was applied was the Exodus 1947.
We know where we’re going
We know where we’re from
We’re leaving Babylon
We’re going to our Father’s land
On 18th July 1947, nearing the coast of Palestine but outside territorial waters, the British rammed the ship and illegally boarded it. Two immigrants and a member of the crew were killed defending the vessel, bludgeoned to death, and 30 were wounded. The ship was towed to Haifa and the immigrants were deported on prison ships back to France at the suggestion of Foreign Secretary Ernest Bevin (better known for his role in establishing the NHS).
Men and people will fight you down
The Exodus recording sessions, produced by Island Records founder Chris Blackwell, took place in two west London studios: a converted Victorian laundry at the back of Island’s headquarters in St Peter’s Square, Chiswick, and the Basing Street studio, a former church in Notting Hill.
The nightly recording sessions were attended by a sizable rotating posse including the young members of Aswad and their manager, Mikey Dread (who I saw perform with The Clash at the Electric Ballroom in Camden Town); Delroy Washington; and Lucky Gordon (of Profumo Scandal notoriety). Journalist Vivien Goldman remembers the sessions as being recorded “in a mood of exuberant creativity”.
At Port-de-Bouc in southern France the Exodus passengers refused to disembark and remained in the ships’ holds for 24 days during a heatwave – this despite a shortage of food, the overcrowding and dreadful sanitary conditions. The French government refused to co-operate with British attempts at forced disembarkation. Eventually, the British decided to return the would-be immigrants to Germany. These people were mostly survivors of the concentration camps and Nazi German persecution.
So we gonna walk – all right! – through the roads of creation
We the generation
Trod through great tribulation
They were shipped to Hamburg, then forcibly disembarked and transported to two camps near the German port of Lubeck on the Baltic Sea.
World public opinion was outraged by the callousness of the British behaviour and the British were forced to change their policy. Illegal immigrants were no longer sent back to Europe, but instead transported to detention camps in Cyprus.
Open your eyes and look within…
Are you satisfied with the life you’re living?
The escorting British soldiers never returned to their units in Palestine. The ordeal had such an impact on them that a near mutiny erupted among them. The British army decided not to press charges and closed the matter quietly.
The events convinced the US government that the British mandate of Palestine was incapable of handling the issue of post-war Jewish refugees and that a United Nations-brokered solution needed to be found. The US government intensified pressure on the British government to return its mandate to the UN.
Throughout the recording sessions, Bob continued writing songs – Exodus itself emerged quite late and, as Vivien Goldman recounts, “there was a fizzing excitement around that track from the moment it was first laid down.”
Many of the musicians were exiles. Beyond their Jamaican roots was the urge to return to Africa, a desire central to Rastafarian belief. Bob and the Twelve Tribes (a Rasta organisation to which he belonged) were actively exploring the possibilities of land made available by Haile Selassie in Shashamane, Ethiopia.
Goldman recalls: “When the night came to finish the Exodus track, the Basing Street studio was alive with excitement. From the start, the song had its own impetus … at four o’clock in the morning a moment hit when the whole room knew that this one was it.”
Within a year, over half of the original Exodus 1947 passengers had made another attempt at emigrating to Palestine – most found themselves detained in camps in Cyprus. One witness describes the DP (Displaced Persons) Camps on Cyprus thus: “a hot hell of desert sand and wind blowing against tents and tin Nissen huts, a hell circumscribed by two walls of barbed wire whose architecture had come out of Dachau and Treblinka”.
Eventually, after the events around May 1948, the majority of the Exodus exiles made it back to Israel.
Exodus, all right! Movement of Jah people!
I first came across EbOY in the studio of designer Paul Smith in London’s Covent Garden about three years ago. He was a big advocate of their work and incorporated it at that time in a diverse range of clothing and products, which was a big break for them, not least in Japan where their approach is so on the same wavelength.
One thing EbOY and Paul Smith have in common is a propensity to surround themselves with inspirational objects. Paul Smith’s spacious office is punctuated with bric-a-brac, books, stuff he’s picked up abroad, things people have sent him (often just slapping stamps on the thing itself and turning it into a bulky postcard). Likewise EbOY have wicker baskets full of toys and masks and other inspirations tidily stashed in their offices – that’s three separate studios across Berlin making up what is in effect a virtual studio.
Two important things I’ve learned from the two design outfits:
Paul Smith speaks about his wife of long-standing with great love and appreciation. She has clearly been a huge inspiration throughout his career – from the humble shop in Nottingham to a global design powerhouse – and he clearly and warmly acknowledges this in public.
EbOY have made their play their work. Their early designs derive from toys and the kind of drawing many seven year old boys imagine their way into. Those roots are still clearly in evidence. I can’t remember who, some old Chinese fella with a long white beard I think, said: if your work is your passion, then you’ll never work a day in your life – or (much neater) words to that effect.
That’s what I strive for and here’s the latest incarnation: the Big Art Mob. What it has, beside the focus on something I love anyway (public art), is one other key element – a worthwhile public/social purpose (recording, discussing, sharing and enjoying that art). Those two components are in my eyes what separates the boys from the men – and long may I be a boy enjoying toys.