Archive for the ‘pleasure’ Category
Following up my recent in-depth analysis of the Daily Mail, I return to that august journal to gather together some of its readers’ comments on the article it published yesterday about The Sex Education Show on Channel 4 whose on-line presence is Sexperience.
Mail/male journo says: “Channel 4 has been accused of peddling obscenity… school pupils asked to discuss pornography… In the programme a group of boys were shown close-up images of penises and asked which they thought was the average size… A male model’s genitals were also shown in close up as a female doctor described in depth the anatomy of the penis… a group of schoolgirls looking at pictures of different size breasts… Shocked viewers said Channel 4 was guilty of broadcasting indecency into family homes… One viewer contacting a TV message board said Channel 4 was ‘reaching new lows’… Conservative MP David Davies added: […] ‘do we really need to have these things graphically discussed by schoolchildren at 8pm in the evening when we are having our tea?’ “
Mail readers say:
My husband and I watched it with our 12 year old son, and it sparked a really honest and helpful discussion. The pictures of genitalia were not prurient or arousing and it was actually helpful for him to see how other normal people looked, without resorting to porn. The point that the program made with those pictures is that normal people don’t look like porn stars, so be happy with your body. A pretty good message for young men and women, I think!
Well done, Channel 4 – we’ll be watching next week!
- Annie, Lincoln, UK
Personally as a parent of teenagers I thought it was a very informative and “real” programme. I think it would be far more useful to show teenagers a show like this instead of the tepid sex education stuff they usually get at school. If they got real life education such as this then maybe they would have less STD`s and less unwanted pregnancies.
- Jeff, CHESTER
I thought it was extremely well done, it was not vulgar or seedy in any way at all, in fact at 48 with 4 children I learn something new, I could never understand why condoms were so tight and hard to put on until I watched that programme and found out there were different sizes available! Shouldn’t teenagers know that? Fantastic useful and educational, well done channel 4
- David Burns, COVENTRY
Channel 4 has a special remit – it is neither a channel designed for ‘everybody’. The real disgrace is no other broadcaster would make such a program because they are paranoid about offending viewers at that time – 8pm is the right time but no earlier.
They have done nothing wrong – clearly educational even when containing explicit detail.
Viewers were warned about the images multiple times – do they have no responsibility or do they just rubberneck for the sake of being offended?
- Ali, Liverpool
This show is educational. Society needs to be less scared of talking about sex. Unless you prefer teen pregnancy that is.
- Arwen, Edinburgh
We can do without this on TV. It is the sort of thing that was subject of some banter on the mess-decks of the RN, and even sailors would not have been so vulgar in another environment.
- LionelB, Dundee
There is always the “amazing off switch” for viewers to use, if they do not like what they are viewing or are embarassed by this programme.
- John Rodwell, Rye
I didn’t watch the show, but i had already heard about it. Why is it so wrong for boys to look at a photo of a penis? Or girls to look at breasts? I don’t understand? Surely it educates children and dispels alot of myths.
- Michaela Cerda, Essex
It’s about time this country developed a grown up attitude to sexual matters.
Just what were those viewers who complained expecting from the programme?
For God sake GROW UP!
- David Maggs, Devizes
If I don’t need to see male genitalia on tv at all, let alone before 9pm, then I very much doubt kids do either!
How many children will have still been awake and watching tv (likely unsupervised in their rooms) at this time?
Grow up C4!
- Anonymouse, UK
The teenage boys shown in the photo, which I assume are a good example of modern youth, look look a bunch of thugs, I doubt that they learnt anything new by watching the TV.
- Robert the EX-Brit, Sumter, USA
Robert the EX-Brit… the teenage boys in the photo do not look like thugs at all. This witch hunt against teenagers needs to stop. As for the program, their parents consented to it, so it’s fine, in fact, we need a culture that is more open and understanding about sex.
- John, Sheffield
Robert the EX-Brit, I watched this progremme. The school boys on the show (pictured) came across as thoughtful, eloquent, intelligent young men. It is obvious from your remarks that you did not watch it (being in the US). Please do not tar all youngsters here in such a way. Remember, sometimes it is better to keep quiet than to speak and let everyone know you are an idiot!
- WA, Oxford
So it’s ok to show fight scenes on Coronation Street, domestic abuse on Emmerdale and advertisements for films where people routinely slaughter each other, but it’s not ok to educate and inform young people who are having sex ANYWAY about the dangers out there. What a load of hypocrites.
- Janice, London
one reason I never watch channel 4
- Christina Crosbie, LESMAHAGOW SCOTLAND
Oh for goodness sake, I wish people would wake up!
This is a modern society where our children and teenagers are exposed to the internet, they know the airbrushed, highlighted and soft pornographic side of sex which is zero education, this programme showed the honesty and reality of sexual organs and sex in all its gory detail, its what responisble parents should be doing anyway, not glossing over the birds and bees story to a 13 year old child who is then more than likely going to naively get into trouble.
I wish more parents would speak to their children so honestly, this isn’t the 1950’s anymore! And if you don’t like it, don’t watch it, there’s plenty of drivel on the other channels to switch your brain off to and brush the ‘shhhhh… sex’ chat under the carpet.
- Ellie, London
Guardian/female journo says: “This is not my kind of thing, as a rule – people talking openly about sex, how much they’re getting it, what kind they’re getting. I’d rather clean the oven. But this show claimed to present both teenage and adult perspectives on all matters sexual. And because I have both a 16-year-old son and a nine-year-old daughter, any advice on how to broach this stuff in a way that is less likely to scar my offspring for life is gratefully received.
As it turned out, I didn’t need to make notes, because teenage son decided to watch it with me. Which I guess was what Channel 4 intended when they gave it a pre-watershed 8pm slot, but was entirely unexpected and potentially horrifically embarrassing (no, for ME, not him). He wandered in at the start, asked what I was watching, and decided to “give it five minutes”. By the end he admitted it had been “interesting” and “useful”. And in the mumble-heavy vocabulary of a 16-year-old boy, I believe that counts as a glowing review.
So was it any good? Well, yes, I think it was”
So I’m on the underground yesterday, reading the new hardback I’d bought the day before. Then this burn-out walks on and I have that feeling – I know he’s going to sit next to me. He’s very tall, lanky, drug thin. His fingernails are dirty. The driver has to warn passengers to stay clear of the closing doors. The burn-out calls them “fucking idiots” in the expected loud cockney voice. I shift rightwards in my seat, hope he isn’t going to smell too bad (which he doesn’t as far as my hopeless sense of smell can tell), carry on reading.
“Is that the new Bond novel?” he asks me gently, having glanced down at the page I was on. The book only came out the day before. The open page had few clues as to what it was.
“Yes, it is.”
“Do you think the film they’re making of it will be good?”
“I think it’s based on a different story.”
“So is that written by Fleming?”
What do I take from the unexpected exchange? You can’t judge the book by the cover I guess is the obvious one we (certainly I) can’t be reminded of often enough. You can tell the price (but not the value). What I most took away was the Simple Pleasure that I had enjoyed the conversation and contact and there was real warmth in those human bonds.
The new Bond book is entitled ‘Devil May Care’ and has been written by Sebastian Faulks (of ‘Birdsong’ fame) in the style of Fleming. I’ve only ever read a couple of Bond books, but remember really enjoying ‘Casino Royale’ (the first Bond novel) for the surprising brutality of the man I had only encountered through the movies. The publication of a new Bond book felt like a bit of an event (I was one when Fleming died) so I bought a copy of this in advance on-line through Hatchards website and picked it up on the day of publication on the way to a meeting at BAFTA with Rob Bevan of XPT- we were working on the forthcoming website for 4IP, the new Channel 4-led fund for public service interactive media, announced at Next on 4 back in March and coming on-stream over the summer. Hatchards in Piccadilly – a book shop dating back to 1797 as it says on its rich green bags the colour of Bond’s customised Bentley with its Arnott supercharger – is one of London’s great treasures. It makes me feel guilty every time I buy from Amazon and I try to make amends by pulling by whenever I’m at the Academy at 195 Piccadilly and picking up a signed volume.
After having a satisfying creative session with Rob, my old collaborator from MindGym, I hooked up with Ivo Gormley of ThinkPublic to talk about his forthcoming documentary about the internet and democracy. We walked back Channel4wards through St James’s and St James’s’ Park where I had the pleasure of demoing Big Art Mob in its mobile incarnation [WAP site] to him in a small alley where we found a superb bas relief of Anthony and Cleopatra, which looks like it may once have adorned a theatre in the area but is now built into a wall opposite an old public house, and on a remixed sculpture which seems to have once lost its head in the park. Ivo’s dad, Antony, who he closely resembles, is one of the most popular artists on Big Art Mob, third only to Henry Moore and Banksy. I wonder what the ‘burn-out’ thinks about public art? what his favourites around the city are? Something to talk about next time…
The current favourite with the enfants terribles:
At the inaugural Media Guardian Innovation Awards the other evening a fellow shortlistee was sitting at the adjacent table – he was black, hairy and even more simian than me. Sadly he didn’t have any reward for sweating the night away and drinking through a straw. Fallon, creators of the Cadbury Gorilla, lost out to my esteemed colleagues from Skins (E4/Holler). And Big Art Mob brought home a pile of metallic twiglets by virtue of winning the Community Engagement category. I was so excited it was as if my humble white wine had been spiked with a good dose of lithium…
Ever wondered what the 100 greatest songs of all time are? Well trouble yourself no longer – here they are…
(only one song per artist/band; songs with words, not instrumental)
Hells Bells – AC/DC
The Stars We Are – Marc Almond
Uptown Top Ranking – Althea & Donna
Ventura Highway – America
The House of the Rising Sun – The Animals
What a Wonderful World – Louis Armstrong
Across the Universe – The Beatles
Harrow Road – Big Audio Dynamite
Hyperballad – Bjork
The Last Month of the Year – Blind Boys of Alabama
In the Sun – Blondie
Everything I Own – Ken Boothe
Unwashed and Somewhat Slightly Dazed – David Bowie
ESP – Buzzcocks
Folsom Prison Blues – Johnny Cash
White Man in Hammersmith Palais – The Clash
Do you really want to hurt me? – Culture Club
Ninety Nine and a Half – Dorothy Love Coates
Alison – Elvis Costello
Just Like Heaven – The Cure
Eloise – The Damned
Knowledge of Beauty – Dexy’s Midnight Runners
Soolimon – Neil Diamond (from Hot August Night)
The End – The Doors
Fruit Tree – Nick Drake
Ballad of a Thin Man – Bob Dylan
That’s Alright Mama – Elvis
This is the house that Jack built – Aretha Franklin
Sometimes – Michael Franti & Spearhead
Inner City Blues – Marvin Gaye
My Sweet Lord – George Harrison
Sonny – Bobby Hebb
The Wind Cries Mary – Jimi Hendrix
Winter in America – Gil Scott Heron
A Town Like Malice – The Jam
Jerusalem – hymn
Tainted Love – Gloria Jones
Atmosphere – Joy Division
Danny Boy – Brian Kennedy
Batonga – Angelique Kidjo
Waterloo Sunset – The Kinks
In My Time of Dying – Led Zeppelin
Oh Yoko – John Lennon
Freebird – Lynyrd Skynyrd
Jealousy – Geraldine MacGowan [County Clare’s finest]
Fairytale of New York – Shane MacGowan & Kirsty MacColl
The Snake with Eyes of Garnet – Shane MacGowan & the Popes
The Prince – Madness
Like a Prayer – Madonna
Shot by Both Sides – Magazine
My Little Empire – Manic Street Preachers
Natty Dread – Bob Marley & the Wailers
Don’t Want to Know – John Martyn
Wandrin’ Star – Lee Marvin
Move On Up – Curtis Mayfield
Amazing – George Michael
Monkees theme – The Monkees
Moondance – Van Morrison
Police & Thieves – Junior Murvin
Jerusalem the Golden – Effi Netzer singers
Smells Like Teen Spirit – Nirvana
Raglan Road – Sinead O’Connor
West End Girls – Pet Shop Boys
Julia Dream – Pink Floyd
Public Image Limited – PIL
Fanciness – Shabba Ranks & Lady G
Try a Little Tenderness – Otis Redding
Cold Water – Damien Rice
Sympathy for the Devil – The Rolling Stones
Chase the Devil – Max Romeo & the Upsetters
Street Life – Roxy Music
In a Rut – The Ruts
Anarchy in the UK – The Sex Pistols
If I Was a Bell – Jean Simmons (in Guys & Dolls movie)
One for my baby – Frank Sinatra
Icon – Siouxsie and the Banshees
Because the Night – Patti Smith
Ghost Town – The Specials
For What it’s Worth – Buffalo Springfield
Atlantic City – Bruce Springsteen (MTV Plugged session 1992)
Down on Mississippi – Mavis Staples
Father & Son – Cat Stevens
Runaway Boy – The Stray Cats
You’re the Best Thing – The Style Council
Forbidden Colours – David Sylvian & Ruichi Sakamoto (from Merry Christmas Mr Lawrence)
No Scrubs – TLC
Listening Wind – Talking Heads
Fire & Rain – James Taylor
Treason – Teardrop Explodes
Ain’t Too Proud to Beg – The Temptations
The Boys are Back in Town – Thin Lizzy
One – U2
Ivory Madonna – UB40
Mannish Boy – Muddy Waters
My Generation – The Who
Armagideon Time – Willie Williams
That Girl – Stevie Wonder
Old Man – Neil Young
Freedom Suite – The Young Disciples
The blue wrap came off. The Big 4 saw the light of day. A real buzz was released into the air around the Channel. Big Art, bold creativity.
The Minister for Culture Margaret Hodge unveiled the 40’ high figure four based on those much admired idents on Channel 4. On the approach to the Channel’s Richard Rogers designed headquarters in Horseferry Road (London SW1), the 4 stands three and a bit storeys high. The structure forms a figure four only from a particular angle, just like the on-screen idents masterminded by Brett Foraker. The concept of the TV graphics is that the four only comes together for a fleeting moment. So, strictly speaking, the Big 4 should be viewed walking by, no stopping.
The structure has been skinned by leading British photographer Nick Knight. He is the first of four artists to tackle the task over the coming year. His approach: skin the figure with images of people’s hearts – from the outside. White skin, black skin, brown skin, the patchwork that is modern Britain. Stand in the middle and you can hear the beating of a heart.
In three months it will be the turn of Ghanaian sculptor El Anatsui, and then the marvellous Mark Titchner. The last skinner will be the winner of a competition run in conjunction with the Saatchi Gallery.
The Big 4 celebrates 25 years of Channel 4 Arts and the launch of the Big Art Project – an innovative, bold cross-platform initiative involving a 4 part documentary series from Carbon Media, the commissioning of 6 new works of public art across the UK – from Beckton to the Isle of Mull, and the first comprehensive map of public art in the UK in the form of the Big Art Mob – a mobile blogging initiative where people photograph public art they know and love and send it from their camera phone into a visually led blog and a Google Map mash-up, the Big Art Map.
Today I had a meeting at the Public Monuments & Sculpture Association with its Chief Executive Jo Darke to make sure the Big Art Mob complements what the Courtauld Institute-based research project has been doing. We (Jo, me and sculptor Nick Pearson) had a fabulous chat in a tranquil corner of Somerset House animated with passion for public art. What I so love about this interactive commission is it’s so adaptable to partnership initiatives. From arts & disability groups to the Arts Council, from Kew to specific creations like Aluna, Big Art Mob is an easy, accessible way to record, explore, enjoy, engage with public art in all its forms.
The day before the unveiling Montreal-based Mexican-Canadian multimedia artist Rafael Lozano-Hemmer revealed his idea for the Big Art piece in Cardigan on the Welsh coast to the local community. Home of the first Eisteddfod, hub of the oral tradition; point of departure for America in the 19th and early 20th centuries; Lozano-Hemmer has really got under the skin of the place and distilled in a work based on buoys floating just off the river bank, collecting and projecting back the voices of the local population and interested people beyond.
There’s 2,800 job cuts being discussed at the BBC today. That’s over three times the size of Channel 4. What the Channel lacks in bulk, it makes up for in size of ambition, degree of creativity and scale of idea. Sometimes it’s good to be the underdog. Between Saturday’s unbelievable England rugby match in Paris and yesterday’s unveiling of the Big 4, I’m totally c!h!a!r!g!e!d.
I was called to the TV in a hotel room in Lahinch, Co. Clare, to hear about the sad departure of Tony Wilson to the Big Gig in the Sky. My memories and associations of him?…
Only encountered him once in the flesh – introducing the In The City conference three years ago at the ICA, London. It had all the classic Factory ingredients of music cross-fertilising with other arts and media; waving the Manchester music flag; and all being a bit on the chaotic side, too many ingredients to fully bake. On the new media meets music front, he was quick to spot the iTunes imperative and back early commercial music download services.
The Lyceum, London: Joy Division supporting The Buzzcocks – one of the most embarrassing performances I’ve ever witnessed (only just behind Matt Lucas at the Comedy Store) – but embarrassing in a truly original way – little did I know…
It was Atmosphere which really enlightened me with regard to Tony’s Factory – so here’s a good juncture to tip the hat to Martin Hannett. The scene with the drum kit on the roof of the studio in ‘24 Hour Party People‘ captured his contribution fabulously.
Buying Pete Saville 12″ covers in that little oasis in East Finchley, Alan’s Records. Tony drew in and nurtured some wonderful creative talent around the big boys of Joy Division and Happy Mondays. His consistently extravagant praise of Shaun Ryder’s lyric writing was admirable in its loyalty and provocation …and, of course, passion.
And that pretty much summarises the fella – loyal (to his native town, to his Factoryfolk – like humouring Saville with his post-gig tickets to be proud of); provocative (the clip on Newsnight the other evening in Lahinch paying homage to The Third Man in a ferris wheel [or was it the London Eye?] “And what did London produce? …Chas and Dave!”); and passionate – a man who makes records where the beautiful sleeve costs more than the retail price of the record does indeed wear his heart on his sleeve. Enjoy the unknown pleasures, Tony, you deserve them.
What comes between fear and sex?
Geddit? Vier Funf Sechs. More of a verbal than a written gag i guess and one that probably appeals to the Modern Linguist in me (French and German with subsidiary Norwegian – but that’s another story). I’ve been thinking quite a lot on and off about Fear over the last few years and have a sense it’s a massively important subject.
Nick Baylis of the Well-being Institute at Cambridge spoke about it the day before yesterday at the Channel 4 Education spring conference entitled In the Wild, exploring informal learning from the starting point of the current state of well-being of children in the UK.
The conference got off to a cracking start with Richard Reeves, author of Happy Mondays, who writes and presents on making work more fun. Smoothly and entertainingly he presented a couple of graphs indicating that beyond a certain relatively modest point money doesn’t make you any happier (apparently the modest point being about the average wealth in Portugal) and showing the comparative duration of happiness prompted by different life events (marriage, etc.).
Then things really took off with a fabulously disheveled, natural, impassioned semi-rant from Nick Baylis. He spoke with great conviction about the way just keeping your head above water is the default state for most of us these days; how the pursuit of happiness (as per the constitution of the good ol’ US of A) is a misleading goal – it’s a question of living life well; how emotions are neither intrinsically positive or negative – it’s how we ride them that counts, pain and anger being rocket fuel for creative expression, by way of simple example; how loneliness (stemming from rampant individualism) and exhaustion underly so much of our being; and how at the core of all this is Fear.
One of the principal antidotes to this fear and isolation he identified as “Beautiful Partnerships”.
His study of Positive Psychology focuses on lives that go well and he encourages us to get better at living life.
“Beautiful Partnerships”. The distance between people within which they can touch, embrace, kiss – really connect. A phrase and space that were the inspiration and focus of the day for me.
A few hours later I found myself only slightly further away – about 12 to 15 feet – from John Paul Jones of Led Zep, Roger Waters of Pink Floyd, Captain Sensible of The Damned and the great producer of Nick Drake et al, Joe Boyd. A few inches to my right was my best friend from school (from the days when you had a few less than 864 ‘friends’). [The photo above was taken on a phone with no zoom – we’re talking close.]
Before I get sucked into psychedelia let me swing by a man who loathed rock’n’roll – Frank Sinatra. He had this to say on fear: “Fear is the enemy of logic. There is no more debilitating, crushing, self-defeating, sickening thing in the world – to an individual or to a nation.” Ol’ Blue Eyes had some real insight (Pete Hamill’s Why Sinatra Matters is a recommended read).
Back on Planet Syd, Madcap’s Last Laugh was a tribute to Syd Barrett who died last year. Joe Boyd (whose Whitebicycles is also recommended reading) helped pull the gig together with added enthusiasm from Chrissie Hynde of The Pretenders fame.
The connection, beside the circle of 12 feet and the Cambridge base of both Syd and Nick, is several references during the course of the evening to Syd as “fearless”. He was the experimenter and catalyser of creativity. Roger Waters appeared solo and said without the inspiration of Syd’s fearlessness he would probably have ended up as a property developer.
Dave Gilmour, Nick Mason and Richard Wright also pitched up to sing Syd’s Arnold Layne. I remember being introduced to the Relics LP by same said friend on my right in our school daze.
Damon Albarn provided one of the highlights of an evening that still has me high after three days with a rendition of Words from Syd’s Opal record. At the end of the song he handed me the lyrics he had been using – which was nice! The Enfants Terribles were well impressed the next morning – they love Blur.
Among the gals, Chrissie Hynde was her usual charming, laid-back self; Vashti Bunyan had a delightful delicateness as she re-emerges into music (I only came across her a year or so ago at an IDEASFACTORY Northern Ireland workshop on music & film, thanks to Kieran Evans); Kate St John (who I first came across thanks to Van) provided spot-on oboe accompaniment on Words and one or two other songs; Martha Wainwright and her mom (Kate McGarrigle) did a fine See Emily Play, all the more impressive as the former had been on the raz since her gig the night before and the latter only learnt it a couple of hours before coming on stage.
John Paul Jones played mandolin (cue flashbacks to Led Zep 4) – I’m now in awe thanks to having had my eyes opened to the sophistication of Led Zeppelin by Chris Cawte, the Jimmy Page of the impassioned Letz Zep tribute band and the composer of the music on all my films and productions from 1993 on – I never fully realised how talented he is as a musician until I first saw him as Jimmy.
Captain Sensible clearly found Syd a huge inspiration and paid tribute with gusto and joy. Since my sid is more Sid (Vicious) than Syd (Barrett) his contribution was a thrill.
During the In The Wild conference I chaired a session including Pat Kane of Hue & Cry, who in talking about play and its importance in learning invoked the spirit of Punk. At its heart Punk had a wild fearlessness which has provided me and Pat and the Captain with inspiration and Simple Pleasure for 30 years (1977 was the Big Year for me thanks to The Buzzcocks, Siouxsie and The Clash). Next time I hear See Emily Play I’m going to think Syd and Sid – a beautiful partnership free of fear.
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.
A couple of interesting quotations I came across this morning (first day back at work so in need of plenty of displacement activity):
“Simple pleasures are always the last refuge of the complex.” – Oscar Wilde
“Pleasure is the object, duty and goal of all rational creatures.” – Voltaire
“The inward pleasure of imparting pleasure – that is the choicest of all.” – Nathaniel Hawthorne
Wilde and Voltaire sit on the Shelf of Honour at home, Hawthorne I haven’t read – the man has a point, very Christian too (if you’re into that kind of thing). Difficult to gauge dear, dear Oscar’s without the context – do the Complex need to be more attuned to the Simple Pleasures and come to them earlier? And as for Voltaire, was he being straight in the context? Shi-it, quotations are of limited value after all…