THE LEONARDO BRIDGE PROJECT

The first Leonardo Bridge in the town of As, near Oslo in Norway. Photo by Terje Johansen. This article was originally published in my Tree News magazine [Autumn/Winter 2005]

A visionary project aimed at building a global network of landmark wooden bridges on every continent, based on an original design by Leonardo da Vinci, is the brainchild of Norwegian artist Vebjørn Sand.

According to his mission statement: This global public art and civil engineering project, honouring the legacy of curiosity about the natural world left to us by Leonardo, integrates the disciplines of art, architecture, natural sciences, history, civil engineering and mathematics, linking people around the world.'

Leonardo wrote a letter in 1502 to Sultan Bejazet II in which he outlined his plan to bridge the Golden Horn, an inlet between present-day Istanbul and Pera in Turkey, with a 340m-long stone bridge, with a 240m -long free span and a 40m clearance for ships. If built, it would have been the greatest bridge of the ancient world but the Sultan remained unconvinced and, like many other of Leonardo's visions, it remained unrealised in his lifetime.

Sand was thirty when he first saw Leonardo's drawing for the bridge in a show of the master's inventions held in Stockholm in 1996. He took his modified and shortened version of Leonardo's original vision to the Norwegian Public Roads Administration, which agreed to fund the project. The resultant pedestrian footbridge in the town of As outside Oslo, built by Knut Selberg of Trondheim and the Moelven Group structural engineers at a cost of $1.47m, was dedicated by Queen Sonjaof Norway on October 31, 2001 .The glue-laminated wooden bridge, smaller than Leonardo's original design, is 110m long, 3m wide, has a span of 45m and sits 8m above a major highway.

With his first bridge completed, Sand is now working to realise the grander vision of a network of such bridges around the world. As he imagines it, in each location the design of the bridge will be modified to suit local circumstances and conditions.

Melinda Iverson, who is handling international liason for the project, told Tree News: 'In our vision, each new footbridge would be like a reinterpretation of a passage of music. The elegant geometry of the design would be created in local materials by our team in collaboration with local artisans and engineers.'

LATEST NEWS
Now comes news that a 15-foot long scale model of the bridge will be one of the exhibits in ‘Leonardo da Vinci: Experience, Experiment and Design, which will be running at the V&A in London from 14 September 2006 to January 2007.

According to the Project’s latest press release: ‘Projects for China, Japan, France and the United States - and hopes to finally construct the Project in Istanbul - are currently being discussed. A public art project on Majorca, in the Balearic Islands to build an authentic hand-hewn stone version of the design is also planned.’

More details about the project: www.leonardobridgeproject.org

For more information on Vebjørn Sand: www.vejborn-sand.com and www.gallerisand.com

After being expedition painter for two Norwegian expeditions to Antarctica, he displayed his work back in Oslo in an outdoor gallery made of ice and snow that drew 150,000 visitors. He also created a "Norwegian Peace Star" first unveiled at the 1999 Nobel Peace Prize ceremony then permanently installed outside the Oslo Airport. It is a 135-foot sculpture, the tallest in Norway, using the platonic solids incorporated into a star form discovered by the astronomer, Johannes Kepler. (News of Norway, November 07, 2001)

TRUMAN CAPOTE: TRUTH AND LIES

Truman Capote with Alvin Dewey Jr, the Kansas Bureau of Investigation's lead detective on the Clutter family murder case and his wife Marie.
'Dewey gets much of the credit for an investigative effort that involved law enforcement agents from Washington, D.C., to Nevada. But 45 years after the Clutter murders in Holcomb, it's difficult to separate where Dewey's involvement in the case ends and other lawmen's begins. Furthermore, for all Dewey's experience, some Garden City, Kan., residents are critical of his relationship with Capote and how that affected what ended up in the book.' Full story here.

Belatedly, I sat down to ‘Capote’ on Sunday afternoon and now look what’s happened. I can’t stop thinking about it. Let’s get one thing straight right away. I hate biopics, hence my reluctance to see this film. However Philip Seymour Hoffman does a great job, for which he won the 2006 Best Actor Oscar, the script, based on the 1988 biography by Gerald Clarke, is well-crafted, its elegantly shot and well-directed. The character of Harper Lee, played by Catherine Keener, is beautifully drawn and strikes a perfect note in the unfolding drama. There are false notes but not many. By and large, it works.

History tells us that ‘In Cold Blood,’ – the writing and researching of which is the subject of this film – was the first nonfiction novel and blazed the trail for what has come to be known as New Journalism (see previous posting: The Archaeology of New Journalism). If one wanted to be flippant, you could certainly says it certainly launched the true-crime market.

More importantly and interesting to me was the fact that Capote claimed to have 94% recall of conversations and never used a tape. So how non-fiction was this breakthrough book? Had the years since the book's publication and the author’s death in 1984, revealed new insights as to the veracity of Capote’s account?

A good place to start is in an early chapter of Marc Weingarten’s Whose Afraid of Tom Wolfe ?, which carries an interesting four-page account of the making of In Cold Blood. It confirms that Capote never tape-recorded or recorded any conversations during his six years of research but, for much of that time, Harper Lee (actually Nelle Harper Lee), worked as his stenographer. After each day’s work, Weingarten says, Capote would head back to his hotel room, type everything up from memory and Lee’s notes, and all this was then filed and cross-referenced.

Weingarten also claims that Capote had ‘taught himself to be his own tape recorder’ and that the fact checker at The New Yorker magazine, which had commissioned the story, ‘found Capote to be the most accurate writer that he had ever worked with.’ This, despite the fact, says Weingarten, that ‘Capote was venturing into unknown territory for The New Yorker, writing about events that he didn’t witness, dialogues that he had received second-hand, interior monologues that could only be stitched together from his interviews and a fair amount of creative licence on his part.’

(The magazine published it in four consecutive issues beginning 25th September 1953 and says James Wolcott in Vanity Fair: ‘It was the closest thing the publishing world had seen to Beatlemania.’)

The New Yorker also published a review by Thomas Mallon [Sept 13th 2004] of ‘Too Brief A Treat: The Letters of Truman Capote’ by Gerald Clarke. Mallon writes: ‘And yet, with this collection of letters, as with each biography that has come along, the fictional quotient of Capote’s ‘nonfiction novel’ has to be revised upward…the effect of these small revelations is always dismaying, and diminishing. The more artistry we espy, the less artistic seems the book, which Capote always touted as a miracle of scrupulosity.’

According to ‘Truman Capote's In Cold Blood: The Nevada Connection’ by Guy Louis Rocha: '‘Capote was a novelist using a reporter's approach, and In Cold Blood suffered from the difference. While Capote claimed in a well publicized interview with George Plimpton in the New York Times Review of Books (January 16, 1966) the book was "immaculately factual", the novelist side of him, many times, permitted great liberties with the facts. And some would say he abused both conventions. For example, we know Capote invented the book's final dramatic scene…

"By insisting that 'every word' of his book is true," Phillip K. Tompkins wrote in the June 1966 issue of Esquire, "he has made himself vulnerable to those readers who are prepared to examine seriously such a sweeping claim." Interviewed by George Plimpton, John Richardson, an acclaimed biographer of Pablo Picasso, claimed that "Truman had absolutely no respect for the truth." Richardson continued, "He felt that as a fiction writer he had license to say whatever came into his head as long as it had a surprising point or shape to it, or an unexpected twist to its tail."

Mallon’s New Yorker review of Capote’s letters goes on to say that Capote claimed to be ‘in closest daily contact with some seven or eight Kansans’ in order to nail down the story. That material, says Mallon, is not in the letters ‘but the serious devotee of ‘In Cold Blood’ would like to see them anyway, if only to measure the gradient of the slippery slope that Capote rolled down towards ‘Handcarved Coffins (1980), a superfictionalised ‘nonfiction’ account of another American crime he’d heard about from Alvin Dewey.’

He’s referring here to the centrepiece of Capote’s collection of journalism and short stories called Music For Chameleons’– a lengthy story entitled ‘Handcrafted Coffins’, written in a similar style to ‘In Cold Blood’, about a strange and unsolved series of murders in another small but unidentified Midwestern town.

It was serialised over several weeks in the Sunday Times, but was later exposed by the very same newspaper two years later, as a hoax. In ‘Hoax: Secrets that Truman Capote took to the grave’ by Peter Gillman, published on June 21, 1992, Capote’s account was revealed to be a weaving together of pieces from various cases he had been told about by Alvin Dewey, the very Kansas detective who is the main investigator portrayed in the ‘Capote’ movie. (Dewey was miffed by the book’s publication as he himself had hoped to write a book of his own memoirs, including the real stories that Capote had confected into his own ‘real crime’ story).

According to Wikipedia: ‘In Cold Blood brought Capote much praise from the literary community, but there were some who questioned certain events as reported in the book. Writing in Esquire (1966), Phillip K. Tompkins noted factual discrepancies after he travelled to Kansas and talked to some of the same people interviewed by Capote. In a telephone interview with Tompkins, Mrs. Meier denied that she heard Perry cry and that she held his hand as described by Capote. In Cold Blood indicates that Meier and Perry became close, yet she told Tompkins she spent little time with Perry and did not talk much with him. Tompkins concluded: 'Capote has, in short, achieved a work of art. He has told exceedingly well a tale of high terror in his own way. But, despite the brilliance of his self-publicizing efforts, he has made both a tactical and a moral error that will hurt him in the short run. By insisting that “every word” of his book is true he has made himself vulnerable to those readers who are prepared to examine seriously such a sweeping claim'.

The Book That Changed A Town
In autumn 2004, a class of seven reporting students, a photography student and four documentary film students at the University of Nebraska-Lincoln spent the season studying Capote's work and its impact on literature and journalism, the community where the story unfolded and some of its principal characters. The students obtained exclusive interviews from people who had refused to talk publicly about the crime or the book. The four-part series based on their investigations was published in the Lawrence Journal-World, a Kansas newspaper, to mark the 40th anniversary of the original publication of the book. These and the documentary film are available for download. http://www.ljworld.com/specials/incoldblood/

In an introductory essay: ‘Holcomb still deals with the pain and attention by Truman Capote's novel’ journalist Van Jensen notes: ‘Without In Cold Blood the murders probably would be forgotten to all but those who lived through the suspicion and fear. And that, in part, fuels the lingering pain so many in Holcomb and Garden City feel. But, West says, Capote harmed the people here in another way. West and many others share stories of Capote misquoting people, describing things incorrectly and making up scenes.’

FINAL NOTES
Adam Mars-Jones wrote an interesting piece in The Observer about Capote's long-lost first novel Summer Crossing, first published in November 2005. He notes: 'Capote claims to have turned himself into a human tape recorder for the purpose of In Cold Blood, since witnesses would be put off by recording equipment or a note book. This always seemed a preposterous claim, making the authority of the book rest entirely on his say-so (and the mystery remains of why anyone said anything whatever to this worldly pixie), but his ear was always good.'

MORE MOVIES

‘Infamous’ (previously named ‘Have You Heard?’), written and directed by Douglas McGrath, covers the same territory as ‘Capote’. Starring English actor Toby Jones as Capote, Sandra Bullock as Harper Lee, the movie also features Sigourney Weaver, Peter Bogdanovich and Gwyneth Paltrow making a cameo appearance as Peggy Lee. The film is adapted from George Plimpton’s oral biography Truman Capote: In Which Various Friends, Enemies, Acquaintances and Detractors Recall His Turbulent Career. It is due to be released by Warner Independent in September 2006.

In Cold Blood was filmed twice. Richard Brooks directed the 1967 movie which starred Scott Wilson and Robert Blake as the two murderers Dick Hickock and Perry Smith. It was filmed at the actual Clutter house and other locations around Holcomb, Kansas. The "semidocumentary" received four Academy Award nominations in 1968, including one for original music score by jazz/pop-legend Quincy Jones. (Ironically, actor Robert Blake was recently put on trial for murder - and acquitted.)

More recently, a TV miniseries, directed by Jonathan Kaplan and starring Anthony Edwards (Dick Hickock) and Eric Roberts (Perry Smith), aired on US tv in 1996.

CAPOTE FACTS:

*Capote grew up in a small town in Alabama, next door to Harper Lee whose famous book ‘To Kill A Mockingbird’ has a character based on him.

*Capote was hired as a copy boy at The New Yorker when still in his teens.

*Capote considered Bob Dylan an unspeakable phony and said of Kerouac’s work: ‘That’s not writing, that’s type-writing.’

*Capote died in the Los Angeles home of Joanne Carson, one of Johnny's ex-wives, on August 25th 1984.
The official cause of death was liver diseas but he had likely overdosed on drugs including Valium, codeine and barbiturates. (Tim Engle, Kansas City Star)

*In an interview with the novelist Edmund White (‘Sweating Mirrors’/After Dark, Sept 1980.) he says that he thinks the most perfect story in his collection ‘Music for Chameleons’ was ‘Then It All Came Down’, which records the visit he made to Robert Beausoleil in prison, ‘the mystery man in the Charles Manson cult.’ [The hired photographer, whose entrance is recorded in White’s reportage, was Robert Mapplethorpe]

*In ‘Tru Grit’ [Vanity Fair /October 2005] James Wolcott says of Capote that he 'looked and sounded like a stunted child – or a hermaphrodite.’ Capote said of himself: ‘I’m about as short as a shot-gun and just as noisy.’

* Capote was, incidentally, forever peeved that this book was overlooked for a Pulitzer Prize which was awarded, a couple of years later, to Norman Mailer’s ‘The Armies of the Night,’ a book which also won the National Book Award. Capote was furious: ‘Norman Mailer, who told me that what I was doing with ‘In Cold Blood’ was stupid and who then sits down and does a complete ripoff.’

NIKOLA TESLA

This week we celebrate the 150th anniversary of the birth of Nikola Tesla, one of the most remarkable inventors and visionaries the world has ever seen, who is only now receiving the worldwide regard his talent and ingenuity deserves. In fact, UNESCO has declared 2006 the 'Year of Nikola Tesla,' according to 'From Fishing Rods to Death Rays: the man who invented the 20th century' by Vesna Peric Zimonjic in The Independent this week.

The best single round-up ofTesla information can be found at A Blog Around the Clock by Coturnix, a link I found while visiting Pharyngula one of the most popular science blogs written by a scientist on the net, according to Technorati.

That's Tesla on the left, featured in the cover of our first
published book - An Index of Possibilities (1972. Wildwood House/Pantheon Books). This giant alternative encyclopedia - hard to locate these days, even at internet second-hand book sites - was the work of a baker's dozen of us when we were mainly in our twenties, working from an office at 2 Blenheim Crescent in Ladbroke Grove, just off Portobello Road. More extended reminiscences about the Index - now a true cult book - in due course.

BIG ISSUE ALTERNATIVE ENERGY REVIEW

This is how it happened. Twenty years after last hearing from her, the fashion designer Katherine Hamnett called me up and said she was Guest Editor of the Big Issue and asked me to get involved. hence I became, for one issue, Associate Editor of the 10pp cover story of this weeks' mag - the Alternative Energy Review, designed to coincide with the
publication today of the Government's Energy Review, in which it is recommended that we build a number of new nuclear power stations. We reckon there are at least 10 really great reasons not to go for nuclear; rather we should embrace what we're calling the New Energy Revolution. Its on the streets this week so try and get one if you can. More info and news on this issue in due course.

WE ARE IRAN

17 November 2004

I keep a web log so that I can breathe in this suffocating air... In a society where one is taken to history's abbatoir for the mere crime of thinking. I write so as not to be lost in my despair...so that I feel that I am somewhere where my calls for justice can be uttered...I write a weblog so that I can shout, cry and laugh, and do the things that they have taken away from me in Iran today.

www.lolivashaneh.blogspot.com

More than 70 per cent of the Iranian nation are under 30

Today Farsi is the fourth most used language in the world for keeping blogs.
There are more Iranian blogs than there are Spanish, German, Italian, Chinese or Russian
There are 64,000 bloggers writing in Farsi in Iran; some would put the figure nearer a million.

WE ARE IRAN is a book containing raw blog extracts - which are emotional, affecting, surprising, tragic, terrible and uplifting - above all so human. These are embedded in
running text which explains the terrible modern history of Iran in a succinct and readable manner. How the US conspired with Iran against the British and then used the CIA to unseat the most democratic leader the country had ever had (an earlier example of 'regime change', before Allende even), replacing him with the Shah, who lived a life of cruelty and opulence, only to be overthrown by the Ayatollah, who opened the door to our new world of islamic extremism, humiliated Jimmy Carter and ordered the fatwah on Salman Rushdie.

Then there was the war with Iraq - little remembered now in the West - in which the US sold arms to Iraq. It began in September 1980. Iraq attacked western Iran, launching the longest conventional war of the 20th century (1980-88) in which more than a million people were killed on both sides.

Since April 2003 the authorities have been arresting bloggers. Iran had already earned the reputation of being 'the biggest prison for journalists in the Middle East', says Reporter sans Frontieres.

This book takes you right into the heart and soul of the people of Iran today in a dramatic and powerful way. The role of women is particularly important and their search for freedom is one of the biggest threats to the power of the mullahs and their Morality Police.

Iran is the only islamic state that has such a long experience of both secular and religious government. They have a rich culture, steeped in art and learning, and a young population who, having been denied the products and ideas of the West, have naturally created their own underground and found it all anyway - but in a more secret fashion.

These blogs are brimming with life, speaking out to us. It is important we get to know the young Iranians and begin opening dialogues between us. I feel this personally because, according to my site meter, which displays a world map of recent hits, one week The Generalist was visted by a blogger from Iran.

70% of the population of Iran is under 30. Just remember that. Read this book as if your life depended on it.

WE ARE IRAN by Nasrin Alavi is published by Portobello Books Ltd.

FIND OUT MORE ABOUT IRAN

Read 'Which Planet Are You on' by John Vidal in The Guardian, an interview with Massoumeh Ebtekar, the former environment minister and first female vice-president of Iran. She reveals: 'Nuclear in Iran goes back to the Shah. He had a feasibility study done by Stanford University, which recommended it. It was an American idea that we have nuclear power.'

Iran in Wikipedia

CIA World Fact Book

New York Times: World news about Iran, including breaking news and archival articles.

IRNA - Islamic Republic News Agency: The official news agency of Iran. Minute by minute coverage of Iran events in both Farsi and English.

Iranian.com

GLITCH: EXPLORER STYLE

FOR SOME REASON THAT I CAN'T WORK OUT

EXPLORER IS THROWING MY BIO, LINKS AND PREVIOUS POSTS

DOWN THE BOTTOM OF THE COLUMN

I'VE TRIED ALL THE OBVIOUS THINGS WITH NO SUCCESS

IT LOOKS FINE ON FIREFOX

SO SWITCH BROWSERS IF YOU CAN

ANY SOLUTIONS WELCOME

YOUR REWARD WILL BE IN HEAVEN

ITS PROBABLY SOMETHING SIMPLE AND STUPID

ALWAYS THE MOST DIFFICULT THINGS TO FIND

IF YOU DON'T KNOW ABOUT THEM

IN THE FIRST PLACE

I AM GOING FOR A GUINNESS

TO AWAIT DEVELOPMENTS

BIG FUG LINKS 2

Astroboy, by Japanese artist Araki Hiroshi.

Big Fug can be relied on to provide some of the most interesting links around. He has unusual tastes. These arrived today:

www.we-make-money-not-art.com/archives/008741.php
A magical miscellany of creative outpourings including Art From Japan from which Astroboy is drawn (above)

http://kropserkel.com/horse_head_pillow.htm
Inspired by The Godfather. Not for the squeamish

www.gvetchedintime.com/
'Etched in Time' is an entire gallery of work entirely executed on those old Etch-A-Sketch machines by George Vlosich III. Each one takes 60-70 houts to complete.

http://worthersoriginal.com/viki/#page=shadowmonsters
A collection of work from artist Philip Worthington presented on a site that throws all the rules of navigation our of the window to create a different web experience

DEATH AND TAXES

Death and Taxes:
A visual look at where your tax dollars go
by Jesse Bachman

In a post The Awesome Power of Data Visualization
on the blog Occam's Razor, Avinash Kaushik writes: 'The visual you see above represents how the US government spends it budget. Talk about representing something extremely complex that perhaps very few people in the US government have a handle on. It took Jesse a full year to produce this visual. Jesse’s self state goal was: “Most people are unaware of how much of their taxes fund our military, and those aware are often misinformed. Well here it is. Laid out, easy to read and compare. With data straight from the White House.”

You can find the full size version here

LAST SEEN IN LHASA

There's a lot of overused words in the book reviewing trade but I'm going to use some of them here: inspiring, insightful, courageous, gracious, moving.
Claire Scobie set out to Tibet for the first time in search of a rare flower and, on that adventure into the wilds, she met Ani - a Tibetan nun of unusual character - and they became friends. Thus was Claire drawn back again and again and again to return - to find Ani and to witness, at first hand, the rapid and worrying changes brought about to this sacred land by the Chinese annexation. On each trip, she takes us into a deeper level of her Tibet experience, drawing the reader into temples and brothels, along breathless mountain trails in the high mountains, into a room with the Dalai Lama.
She literally risks life and limb to bring us these stories and insights, coming within a hair's breadth of being arrested and imprisoned by the Chinese Military Police, suffering regular bouts of sickness. She shares her despairs and elations, her misgivings, her love affair, in such an honest and open manner, in an unforced and natural voice, that promotes instant indentification. Her developing friendship with Ani is the thread that holds the narrative together and this also is beautifully rendered. The descriptions of the giant skies, the sheer wonder and beauty of the sacred mountains, is breathtaking. There are some wonderful ancient spiritual thoughts and ideas here alongside some tough, hard-edged contemporary journalism of the classic kind. It is a first-hand account of one of the spiritual centres of the world being overwhelmed by the forces of modern Chinese society, a process accelerated recently by the opening of the China-Tibet railway. This certainly must be one of the best introductory works for a general reader seeking to really understand what is really happening in modern-day Tibet. This book is a considerable and hard-won achievement.

['Last Seen in Lhasa' by Claire Scobie. Rider Books]

Declaring An Interest: It is only fair to say and also important to say that I am a long-time friend of the author and am mentioned in the personal acknowledgements. This, you might be tempted to say, weakens the force of my review. The point is this: it's always difficult when a friend gives you a book of theirs to read. The dread is that it's not going to be very good and that you are going to have to find some polite way of dealing with it. I am relieved and happy to be able to say this book is truly splendid.

Now find out more about what's going on inTIBET here:

Free Tibet Campaign: http://www.freetibet.org/

Tibet Government in Exile: http://www.tibet.com/

Tibet Online: http://www.tibet.org/

Wikipedia: http://en.wikipedia.org/wiki/Tibet

International Campaign for Tibet: http://www.savetibet.org/

The Central Tibetan Administration: http://www.tibet.net/

EARTHED: AMORY LOVINS

Illustration: Simon Bartram

I wrote this timely article for the 'Connected' supplement of The Daily Telegraph, who published it on June 2rd 1997. 'Connected' was the first British newspaper supplement on digital technologies and I was a regular contributor to it. In our modern era of concern over climate change and increased interest in energy efficiency, this article still makes interesting reading.

Digital Weapons Deployed In War On Waste

Here are some disturbing facts about the world: we are more than 10 times better at wasting resources than using them. Eight per cent of products are discarded after a single use. Ninety-nine per cent of the original materials used in the production of — or contained within — goods in America becomes waste within six weeks of sale.

Seventy per cent of the original fuel energy used by conventional or nuclear power stations is wasted before it gets to an ordinary household light. Similarly, 85 percent of the energy from a car's fuel is wasted in the engine or drivetrain before it gets to the wheels.

In a steadily warming world, such wastage — of heat, resources, time, money, water and air — is both dangerous economically and a contribution to climate change that we can't afford. Fortunately, a solution is at hand.

A new "industrial revolution" is beginning to emerge alongside the digital one — a revolution of resource efficiencies and environmental technologies. Computer-aided design has radically altered design, engineering and architectural practice; micro-electronics has enabled the increasing sophistication of manufacturing processes; telecommunications affects transport.

This revolution will have an equally important impact on all our lives in the next decade, although evidence of it is, as yet, scattered widely. However, the publicatoions last month of a book called 'Factor Four' will not only provide a focus for broader public awareness, but also introduce to a wider readership in Britain one of this revolution's leading evangelists, Amory Lovins.

Lovins, 49, a consultant physicist by training, is an engaging character whose dry wit is combined with an encyclopedic memory and a snappy line in new thinking that has convinced even the most trenchant of critics.

Just as the 19th century industrial revolution brought a massive increase in the productivity of human labour through mechanisa­tion, so, Lovins argues, this new change will achieve an equally remarkable result through the more effective and efficient use of materials and energy.

'Factor Four' is the latest report from the Club of Rome, which, back in 1972, triggered off plane­tary concerns with its first report, 'Limits to Growth', warning of the ecological constraints on human activity.

"There are some very powerful new technologies for using all resources — energy, water, materi­als, transport services — more pro­ductively," says Lovins. "These are the technologies of elegant fru­gality, for doing more and better with much, much less. They pre­vent depletion at one end and pol­lution at the other, make a profit on both, and usually provide a much superior service as well."

Factor Four is packed with examples that back up his asser­tions:

• One-fifth of all electricity used in America goes directly into light­ing. However, ordinary incandes­cent light bulbs, which have changed only modestly since the Thirties, emit only 10 per cent of their energy as light. These are now slowly being replaced by com­pact fluorescent lamps, pioneered in Holland and Germany. About 200 million of these lamps are sold every year globally, and this is ris­ing by 15 to 20 per cent a year. Those sold in 1994 alone will save around £5 billion in electricity over their lifetimes.

• Lovins was involved in an $18 million, seven-year project to ret­rofit a dozen experimental build­ings, a project underwritten by US Pacific Gas and Electric, the larg­est investor-owned American util­ity company. The project confirmed that about three-quarters of the electricity used in most situations could be saved, while providing the same or better services.

So what value do the 'Factor Four' concept and Lovins' ideas have for British industry?

Peter Scupholme, manager of environmental relations for BP International, says: "People like Lovins are adding to the debate by challenging the existing mindset." BP had Lovins to one of its seminars last year, on the future of transport. Scupholme says BP is striving for a more energy-efficient process at its refineries. However "in real life", he says, things are changing slowly, "but there is a widespread recognition that we need to move towards more sustainable production and consumption patterns. In this debate 'Factor Four' is a good market to aim for."

Dr Chris Tuppen, the corporate environmental issues manager for BT, sees telecommunications as a key part of the shift towards sustainability, and says telecoms has achieved far more than a factor of four in relation to costs and bandwith. The first transmission cable in Britain, which ran from London to Liverpool in 1914, required 80kg opf copper per kilometre of cable for each telephone circuit. Now fibre optic cables use 0.001g of glass per kilometre per circuit.

A telling example of the interac­tion of the digital and the environ­mental is the case of BT's tele­phone exchanges, which have been switched from electro-mechanical to digital.

"The old exchanges use most energy only when they switch," says Tuppen. "The digital exchanges need to be on all the time, which generates heat. Our immediate reaction to this was to install air-conditioning units — increasing energy use. Now all new BT exchanges use forced natural ventilation, elimi­nating the need for refrigeration. This has cut energy use by 50 per cent. We were able to achieve this by using computer modelling of air flows; each exchange is individually modelled for maximum efficiency. We have also broadened the temperature operating range of the exchanges. Computer manufacturers are now coming to us to see if they can do the same thing for computer systems."

Lovins' most recent battle in England has been to try and change the system - established by the restructuring of the electricity industry - that rewards electricity companies for selling more energy and penalises them for cuitting your electricity bill.

"We have changed it in six or eight of the US states so far, and it has a miraculously beneficial effect on utilities' behaviour and culture if you align their share­holders' interests with the custom­ers'. Just now they are opposite," he says.

Lovins resists calling these new technologies "green". They are "simply the way most technol­ogies are going to be. They work better and cost less than, if you like, the 'brown' technologies that were based on a large throughput of resources from depletion to pol­lution while delivering a rather modest amount of an indifferent service.

"Typically, these [new] technol­ogies have a much higher ratio of intelligence to mass than the old ones. There is not much to them materially — just enough to do the job; but a great deal of intelli­gence, and indeed wisdom, in the design."

If one idea can be said to symbol­ise Lovins's views it is his develop­ment of the hybrid electrically-powered Hypercar. Lovins and his research institute, the Rocky Mountain Institute in Colorado, attempted to re-think the entire concept of the car.

The result was the Hypercar: a lightweight (up to 75 per cent lighter than a conventional car), sleeker (drag reduced by 60 per cent) and more efficient vehicle (road and tyre energy loss slashed by 60 per cent).

It is powered by a hybrid petrol and electric drive, the petrol engine generating the electricity for an electric motor. Petrol stores 100 times the energy per kilogram compared with batteries; such a propulsion system weighs about a quarter as much as a battery-elec­tric car. The Hypercar concept has the backing of the White House, and the big three American car manufacturers.

In Lovins's view, cars had become "incredibly baroque", adding gadget after gadget to solve problems that better design should have prevented in the first place.

"The Hypercar is heading rap­idly to market. We are expecting it late this decade. It does not, of course, solve the problems of too many people driving too many ki­lometres in too many cars, and may make them worse by making driving even cheaper and more attractive. But, I think I would rather run out of roads and patience than out of air and oil first. And we ought not to run out of either because we ought to have real competition among all ways of getting around or not needing to."

['Factor Four' by Amory Lovins and Ernst von Weizsacker is pub­lished by Earthscan]

BOX: Efficiency of A Genius

Educated at Harvard and Oxford, where he became one of the youngest-ever dons at 21, Lovins also holds six US honorary doctorates and is the author of 22 books and hundreds of scientific papers.

He won a MacArthur "Genius" Fellowship in 1993 and the Onassis Foundation's first Delphi prize — one of the world's two top environmental awards. He was named by the Wall Street Journal as one of the 28 people worldwide "most likely to change the course of business in the Nineties".

He has briefed nine heads of state and given expert testimony in eight countries and more than 20 American states. He has advised companies ranging from BP to Xerox; public-sector clients include 13 state governments and the US Congress.

A key mentor was Dave Brower, founder of Friends of the Earth, in the US, Lovins later helped found the organisation in Britain. He lived here between 1971 and 1981, and wrote the first case study of British National Parks Policy. The book was held up for a year by RTZ, which had planned to mine for copper and dredge for gold in Snowdonia.

Lovins says: "I may have saved RTZ going bust because, just as they would have been at the maximum outstretch of their cash flow, the copper market went south. In the curious way of life's ironies, I'm now working cordially with the Copper Development Association, because almost everything one does to save electricity happens to use more copper."

Much of his work is in collaboration with his wife, Hunter — a lawyer, sociologist, political scientist and forester. Together they founded the Rocky Mountain Institute in 1982, an independent, non-profit policy centre that fosters resource efficiency and global security.

The institute's 40 staff explore the links between energy, water, agriculture, transport, security and development. Its annual budget comes from grants, donations and enterprises, including E Source, a database and news service on advanced electrical efficiency.

LINKS:

Rocky Mountain Institute: http://www.rmi.org/
Wikipedia: http://en.wikipedia.org/wiki/Amory_Lovins
Natural Capitalism: http://www.natcap.org/
Winning The Oil End Game: http://www.oilendgame.com/TheAuthors.html
http://www.bigpicture.tv/index.php?id=34&cat=&a=58
Business Week: www.businessweek.com/bw50/content/mar2001/bf20010323_307.htm

EARTHED: AMORY LOVINS 2

This is a never-before-published interview I conducted with Amory Lovins on the 4th July 1996. We met in the lobby of the Shell building in London on one of his whirlwind tours of the UK, a schedule crammed with meetings and appointments. A cross-town cab ride in torrential rain, in company with one of Lovin's aides, took us to Paddington Station for the train to Oxford which we both caught and on which I recorded this conversation.

JM: We use the term 'environmental technologies' as a umbrella concept to cover a wide range of tools and techniques. What do you think of the term?

AL: 'Environmental technology’ for many people means cleaning up what comes out of a pipe. In the new generation of environmental technologies, there is no pipe. Or as the architect Bill McDonough says, you take the filters out of the pipe and put them where they belong - in the designer's head so as to eliminate from the process everything you don't want to have to deal with and that shouldn't have been there in the first place. Another importance class of environmental technologies [are ones] that 1 think perhaps we oughtn't to call that - the very powerful new technologies for using all resources more productively; energy, water, materials, transport services. Technologies for elegant frugality, for doing more and better with much, much less.These are environmental in the sense that they prevent depletion at one end and pollution at the other and make a profit on both, and they usually provide a much superior service as well.But I am not sure that a hypercar with those qualities would be called an environmental technology; it has environmental benefits, but it's just a better car.

JM: What is the generic term you would use then?

AL: Well they might be called Green technologies but I think they are simply the way most technologies are going to be because they work better and cost less than, if you like, the 'brown' technologies that were based on a large throughput of resources from depletion to pollution whilst delivering a rather modest amount of an indifferent service. Typically, the technologies I have in mind have a much higher ratio of intelligence to mass than the old ones. There is not much to them materially - just enough to do the job -but a great deal of intelligence, and indeed wisdom, in the design. Typically [this is] learnt from nature, using nature as model and mentor rather than as a nuisance to be evaded. These technologies are not necessarily physical artefacts. They may be ways of designing a business. They may be ways of doing farming and forestry. They can be technique or concept or structure, not simply an object.

Let me give a few examples regarding ways of designing a business. Ray Anderson, chairman of Interface, a carpet company with about 2/5 ths of the commercial broadloom carpet market in the United States, had the nice idea that rather than selling rolls of carpet, he would lease floor covering services. Now currently if you maintain an office, you probably have to shut it down about every seven years to take up the carpet because it has got worn spots, stains or whatever. You take it out, take it to the landfill, put down a new one, get poisoned by the carpet glue in the air and then move back into the office - well, move back in and then get poisoned. What happens instead with his evergreen lease concept is that you lay down carpet tiles, which look the same, but 80 or 90 per cent of the wear is on only 10 or 20per cent of the tiles. So twice a year, little elves come in at night change the worn tiles to fresh ones. You therefore always maintain a fresh-looking carpet but you need not tear up the office to do it or disrupt your operations. Nothing goes to the landfill because the old carpet tiles are taken back to the works and remade into new ones. So the throughput of resources goes down close to a hundred fold, when you are through closing that loop, and not a drop a oil will end up getting used in the process, except initially for transport. Yet it is a much cheaper service to provide and to purchase, everybody makes more money on it and it looks better and works better.

Bill McDonough who I mentioned earlier, was asked by Steelcase, the largest US maker of office furniture, to design a textile to go on the backs of office chairs. He said: 'Alright, I'll design it, if you'll allow me also to design the production process.' They innocently agreed. So he started digging into the chemistry of dying cloth because he found that the present way they made the textiles in Switzerland, ended up with edge-trimmings treated as hazardous waste. Well what does that tell you about the middle of the cloth that you're sitting on. The first couple of dozen dye-stuff companies wouldn't let him in the door, but finally the chairman of Ciba-Geigy said 'Ok, you can come look at our dye-stuff chemistry.' He looked at three or four thousand dying chemicals and screened out any that caused cancer, mutation, birth defects, or were persistently toxic or bio-accumulative, or endocrine disruptors. Out of those six screens emerged 37 chemicals out of which he could make every colour except, initially, black. It would look better, the cloth would last longer and feel better because it wasn't being damaged by the harsh chemicals, and it turned out to be cheaper to produce with these safe chemicals because you needn't worry about poisoning either the workers or the environment.
So very costly processes of environmental and work­place health and safety compliance, toxic waste disposal and so on, simply disappear by putting the filters in the designer's head. Now this must give the companies that make dying chemicals a great deal to think about.

We are seeing this shift to inherently safe ingredients, processes and products. To things that last longer. To things that can be made with little or no wasted material, with closed materials loops, with re-cycling, re-manufacturing and repair. Shifting from selling products to leasing services. We're seeing all of these rapidly emerge in a wide range of fields. Carrier, the world's largest maker of air-conditioning equipment, is shifting from selling 'chillers' to leasing cooling services. Schindler, a Swiss lift company [Ed: Currently the world's second largest], makes most of it's money not from selling lifts but from leasing vertical transportation services. The list goes on like this. We have many companies now that don't sell industrial solvents, which then become a very costly hazardous waste disposal issue, but rather they lease dissolving services.When you're through using the solvent you give it back to them. They own it all the time. They are responsible for it. They purify it and lease it out to the next customer.

Now that's therefore a set of examples, and there are many more, of a 'green revolution' in the design of businesses. This goes well beyond the usual concepts of say waste reduction, for example. Ray Anderson again has the concept, which is fairly conventional, of defining waste as any measurable input which does not contribute to customer value. He then, however, goes a step further and sets a zero-base waste budget- every measurable input is presumed waste until shown otherwise. That's a much stronger discipline in figuring out why are we using this stuff? Do we really need it to do the job right?'

Similarly there are new ways of designing farming and forestry systems. At present, a lot of chemicalised farming treats soil like dirt rather than like a biotic community, and seeks to substitute rather costly mechanical and chemical inputs for free ecological services, that actually are much more effective - as well as free - if properly looked after. We are finding that organic techniques are: at least as profitable, often more consistently profitable; more resilient in the face of weather, market and other surprises; more atention intensive - you need more eyes per acre to make it work right; much more supportive of family and community; less hazardous to people, animals, water, soil; and produce more healthy and nourishing food.
Similarly sustainable forestry practices are emerging as a good deal more profitable than the conventional extractive techniques where you can't see the forest for the board- feet. They offer astounding economic leverage because only a tiny fraction of the value of the forest is in the wood. Most of it is in other services provided, such as watersheds, well stabilisation, bio-diversity, recreation and so on, even aesthetic and spritual values.

Now, it is in the realm of technical devices and artefacts that the technological revolution becomes so dramatic in its economic and social as well as its environmental values. The Hypercar [is an] example. [This] is our term for ultra-light hybrid-electric cars. They can be sportier, safer, more refined, more beautiful, adorable and comfortable than present cars. [They] probably cost less to produce, use about 80 to 95 per cent less fuel, produce one per cent or a tenth of a per cent as much pollution and offer decisive competitive advantages to it's manufacturers, as well as the marketing advantages of simply being a superior car. It does not of course solve the problems of too many people driving too many kilometers in too many cars and may make them worse by making driving even cheaper and more attractive. But, I think, I would rather run out of roads and patience than out of air and oil first. And we ought not to run out of either because we ought to have real competition amongst all ways of getting around or not needing to. For example, being already where you want to be so you needn't go somewhere else. That means good land use as well as good telecommunications.
And non-motorised mobility options. 'All those that believe in individual mass transit-raise your right foot', as Dave Brower says. The Hypercar is heading rapidly to market. We are expecting it late this decade. For purely competitive reasons, [it has been developed] without help from any government mandate, subsidy or tax policy.

The same technological revolution that permits this sort of leapfrog, with better peformance and lower costs, is occurring in many other areas. For example, we have recently done experimental houses, in temperatures ranging from -44°C to +46° C , which is a range of 90 Celsius degrees. Houses that require however no heating or cooling equipment cost less to build and are more comfortable to be in. We recently had a design for retrofitting, that is improving, the air conditioning system of our California office, with only three per cent of the original air-conditioning energy use. This 97 per cent saving actually made the building more comfortable. We recently analysed a way to retrofit an existing twenty-year-old giant glass office tower in a way that would save three-quarters of its energy, greatly improve comfort and amenity, and pay for itself in minus five to plus nine months. As it was twenty years old, you had to renovate it anyway for other reasons, like age and CFC's. Renovating it to quadruple its efficiency and make it work and look better would cost essentially the same as simply replacing what was already there.

There are many, many examples from motors, lights, office equipment, household appliances, building envelopes - all of these technical sectors. Even industrial production equipment, where two-fold to ten-fold efficiency improvements can be made. These improvements are highly profitable and can improve function and service quality.

JM: My understanding of what you do is that you spend a great deal of your time travelling the world convincing governments and institutions about the nature of these possibilities.?

AL: Yes, and even more time working with the private sector to implement them. We feel that the main centres of action now are in corporations and communities as well as individuals. We place much less emphasis on governments.

JM: Why is that then?

AL: Governments are necessary and good at certain things but stopping up the cracks round my window is not one of them. I think governments should steer not row. It is important to have government, amongst other things, to get the rules right. We ought to be rewarding architects and engineers for what they save and not what they spend, and correcting the other perverse incentives that afflict all 25 or so parties in the real estate value trade, who are systematically rewarded for inefficiency and penalised for efficiency. So, guess what, we get a huge stock of immediately obsolete buildings. We are starting to understand what are the market failures in buying resource efficiency and how to correct them by tweaking the trim tabs to help the market move properly. So, I think government has a very important role of that sort and can use market forces a great deal more creatively than has been done so far. A small example. Rather than primarily relying upon building standards, useful though they are, as a floor for performance, one ought to have a sliding-scale connection fee. When you connect your building to the grid, if it's efficient, you get a rebate; if it's inefficient, you pay a fee. How good or bad it is determines the size of the rebate or fee, and the fees pay for the rebates, so it's revenue neutral. This motivates continuous improvement, whereas building standards are obsolete before the ink is dry and there's no incentive to do better. You could do the same thing for cars; to get good cars on the road and bad cars off the road faster, by having this sort of debate. It transfers well from those whose inefficient choices impose social costs to those whose efficient choices save social costs. I am very excited by the speed of change and the quality of much upper-management now in the private sector and also, I might add, in the military services, where I've been working lately. There are some astonishingly
decisive and exciting managers there who know how to lead, not simple to manage. Forexample, we have been overhauling how the US Navy designs buildings and procures design services and equipment for buildings. I can't imagine, even though we have worked with some excellent companies, a private sector firm that would move as quickly and as well as they did in that instance.

JM: So how are you viewed in the US as an institute? Where do you fit into the general scheme of things?

AL: I think we have earned a certain amount of respect for foresight and using advanced technologies and market forces in a creative fashion to work better. We don't lobby. We don't litigate. We're not an environmental group but what we do has important environmental benefits and we talk to everybody. We are completely trans-ideological, non-partisan, non-sectarian, and well known for saying what we think.

JM: So what change have you noticed, say in the last five years?

AL: Very rapid and impressive rise in interest and activity in the private sector towards the same ends.
There's now a whole generation coming up of visionary green CPO's, who are leading major companies in quite unexpected, extremely interesting and constructive directions. We have long felt that the private sector is probably the most important source of constructive action on the world's major issues because it alone has the resources, skills, agililty and organisation to get difficult things done fairly quickly. It certainly has the motivation because it is turning out to be so much cheaper to save resources than to consume or produce them. Resource productivity or resource efficiency is not a panacea, but it is certainly a very powerful tool, perhaps the most powerful we know, for slowing down depletion and pollution.

THE GENERALIST LIBRARY: New Additions

Harry Mulisch is Holland's most important postwar writer. Born in 1927 in Haarlem to a Jewish mother whose family died in the concentration camps, and an Austrian father who was jailed after the war for collaborating with the Nazis, Mulisch feels a particularly charged connection with the Second World War and 'The Assault' is his masterpiece on that subject, documenting the horrors experienced by a young boy following the assassination of a collaborator outside his house. Personally I enjoyed 'Last Call' even more and consider it to be one of the greatest novels about the theatre. An aged actor, who believes his life and career to be over, unexpectedly receives an invitation to star in a new play. Strange and extraordinary events ensue. This is a very deep book, full of twists and turns and profound insights, genuinely moving and disturbing. Highly recommended.

For my money, Jake Arnott is one of the best British writers around, on a par with Colin MacInnes in his portrayal of the underworld of London Life. His books are intensely readable evocations of the criminal and cultural underbelly of the city at various times in its modern history. His characters are rounded and believable, the stories strong and well--plotted. Even more impressive is his expert grasp of mood and moment in which there is a never a false step. Best known of his works to date is 'The Long Firm' (made into a tv darama series and set in the period of the Krays and Profumo), followed by 'He Kills Copper, 'True Crime' and now his latest 'Johnny Come Home' which centres on glam rock, the birth of the Gay Liberation Movement and the Angry Brigade. His evocation of the early 70s is superb and the tale he tells genuinely satisfying. No wonder David Bowie is a big fan.

Neil Gaiman is someone I've known from the Sandman comics but this is the first of his novels I've read. Originally published in 2001, this is revised paperback version in which a huge chunk edited out of the first edition has been put back in. A large doorstep of a book 'American Gods' is a gripping phantasmagoria based on the idea all the immigrant groups that came to the US brought their Gods with them but then neglected them, being captivated more by the new Gods of Media, Television and the like. The old Gods, now scattered, forgotten and unemployed are called on to fight one last battle fore their survival. A gripping tale, which might be described as a hybrid between Stephen King and Phillip Pullman, its the product of a muscular imagination that will take your mind into uncharted waters.

Final note: Well worth checking out 'The Fight' by Norman Mailer, his classic account of the Rumble In The Jungle between Ali and George Foreman. This must be one of the greatest books on boxing and is an ideal companion to the stunning documentary 'When We Were Kings.' His blow-by-blow account of the fight itself will have you scurrying back to the DVD.

FIRST BIRTHDAY

'The Generalist' is 1 Year Old today. Thanks to friends, colleagues and supporters. To date have had 3,728 individual visits and 5,723 page impressions. These have come from all over the world including Brazil, Iran, Taiwan, New Zealand and Serbia. Greetings to all generalists out there. Please spread the word.

BIG FUG LINKS 1

Big Fug can be relied on to provide some of the most interesting links around. He has unusual tastes. Here is the first crop. Many more to come.

Animusic Pipe Dream
An extraordinary piece of computer animation. Watch and be amazed.

If The Earth Were A Sandwich
Never before have two pieces of bread been simultaneously placed on the ground directly opposite each other on the globe, thus making an EARTH SANDWICH.

Getting Real: The book
The smarter, faster, easier way to build a successful web application. 171 page PDF, $19. Buy it now and download it today!

Puzzle World Database
Lee Krasnow builds extraordinary wooden puzzles

LATEST ART/SubScreenSonic

'Latest Art' is a new production from the South Coast that deserves a wide viewing - a no-nonsense gallery showcase of diverse work with some genuinely interesting articles. Refreshingly free from twee polemic or academe, I can see this catching on in a big way. Available FREE in London and the South-East.

Most interesting piece for me in this first issue was the article 'On the Wall' by Jeff Hemmings, linked to 'SubscreenSonic', a new exhibition of concert and gig posters at the Basement in Brighton. It asks the big question as to whether this show can whet the appetite of promoters, venue managers and artists and reignite the passion for gig posters that existed in the 1960s and 1970s.

I have been pondering this issue for some time, having spent five years cataloguing Felix Dennis' OZ Archives, studying in particular and in detail the history of such posters - an explosion of graphic art that hadn't been seen since Art Nouveau at the turn of the 20th century (and very influenced by that style, incidentally).

This was further reinforced by purchasing 'Art of Modern Rock' by Paul Grushkin & Dennis King [Chronicle Books], the sequel to 'The Art of Rock' documenting the earlier period, an eye-popping collection of more than 1,800 extraordinary posters produced in the last 25 years. Responding to the demise of the LP in the mid 1980s (with its superb tradition of album cover art), the rock poster rushed in to fill the void and swiftly boosted a growing independent/ alternative music scene. The book is stunning and overwhelming. The new artists are using old fashioned letterpress and silkscreen alongside digital technology with extraordinary results. There is work here from 375 international artists and studios. I don't believe that I had seen a single one of these posters in any magazine in the UK. Why is that ? Open any double page in this giant book and you're presented with an array of startling images in every graphic style under the sun. I have yet to show this book to anyone who is not startled and overwhemed. The work stands comparison with the very best of the hippy posters of the past. Why is this not happening in the UK ? Or is it about to happen? I shall be investigating further. In fact, I've decided to head down this afternoon. Will report back as discovered the show finishes tomorrow.

As it turns out Sub Screen Sonic was fab, an impressive showcase of work by 33 artists and studios - all American except for one English guy (Nick Rhodes from Manchester) and an Italian. The organisers told me they'd had large numbers of visitors during the week and one can only hope that more such shows follow in the UK and that we see more silkscreen/letterpress work happening in the UK.

ARTHUR LEE LOVE FEST

Benefit Concert For LOVE's Arthur Lee To Be Held At NYC's Beacon Theater on June 23rd.

'An all-star benefit concert, titled WE'RE DOING IT FOR LOVE, will be held at New York's Beacon Theater on Friday, June 23 which will attempt to cover the massive medical expenses of rock legend Arthur Lee (LOVE) who was diagnosed in February with Acute Myelogenous Leukemia (AML). Unfortunately, Arthur has no medical insurance, already has medical bills in excess of $100,000 and is facing a probable bone marrow transplant.

With a rapidly increasing lineup at press time including Robert Plant, Ian Hunter, David Johansen, Yo La Tengo and Garland Jeffreys and a host of other significant artists expected to be added in the coming weeks, in addition to hopefully solving a major financial crisis, this concert will shine a long-overdue spotlight on the hugely influential but greatly underappreciated music of one of the truly innovative and influential rock artists of all-time. Tickets go onsale Friday, May 12th at noon at the Beacon Theater box office (74th & Broadway) and all Ticketmaster outlets (212-307-7171), www.ticketmaster.com. All of the concert's proceeds will go to Arthur's medical expenses.

Produced by veteran New York concert promoter Steve Weitzman of SW Productions, in association with Arthur Lee's manager Mark Linn, the show will feature artists who will either be performng Arthur Lee's material, their own originals or a combination of both. Many of the artists invited have had a history of performing LOVE covers in their live sets or on records, and Robert Plant, for one, has been performing three of Arthur's songs regurlarly during his most recent tour.

This upcoming concert infact, owes a large debt of gratitude to the legendary Led Zeppelin vocalist, as he was the first significant artist who agreed to perform, stating simply in a mid-April email to Mr. Weitzman that he "would definitely like to be involved...and will sing with anybody!" He has also insisted on taking care of his own plane fare from London in addition to his NY hotel expenses even when those were offerered to be included in the show's budget. Very soonafter Mr. Plant confirmed, Ian Hunter followed, and in addition to doing his own performance, offered to have his stellar band back up Mr. Plant who happily accepted that arrangement. The show's producer was told to expect"some old Led Zeppelin songs" as well as material by Arthur Lee and a few other songs long admired by Mr. Plant that he hasn't often performed live. Mr. Hunter and Mr. Plant also plan on singing together on certain selections, marking the first time onstage that they will have ever done that.

Understandably, for Arthur Lee, currently battling his life-threatening illness in Memphis, news of this concert has been practically the best medicine possible and has significantly picked up his spirits. When told about Robert Plant's involvement by his manager Mark Linn, he said, "That's great! Why don't you get that guitarist too... Jimmy something," adding with his "arthuresque" humor and take on life, "Robert Plant is a man of his word. and a man's word is his castle!" While his situation is extremely serious and the next few weeks will be his most challenging with ongoing chemotherapy and extensive hospital stays, he recently told his manager thathe is not afraid of dying, only pain. If he is physically able to travel next month, he added, he would love to attend the Beacon show.

It has been well-chronicled that Arthur Lee is a man larger than life. He is a flamboyant artist with a trail of myth and mythology that follows him like a feathered boa. His band, LOVE, was the first rock band signed toElektra Records, and Arthur is responsible for talking company founder Jac Holzman into signing The Doors. Before all this, in 1964, Arthur gave his friend, an unknown Jimi Hendrix, his first appearance on record (the Arthur Lee penned "My Diary" by Rosa Lee Brooks). LOVE's third recording, the landmark "Forever Changes," is still widely considered to be one of the greatest rock and roll discs of all time. In a Rolling Stone special issuetwo years ago, it was voted the 40th greatest album ever, on a list ranking the top 500 LP's of all time, even finishing ahead of such classics as Jimi Hendrix's "Electric Ladyland", the Rolling Stones' "Beggars Banquet", "Meet The Beatles," Led Zeppelin "IV" and John Lennon's "Imagine."

Mass acceptance was elusive for LOVE at the height of their creativity as they were definitely not "careerist." They preferred staying close to home, living together in "the castle" near Griffith Park in Los Angeles as opposed to life on the road. Arthur even turned down invitations to perform at the Monterey Pop Festival and Woodstock. In the late '80's and early '90's, Arthur spent approximately seven years in jail for "allegedly" shooting off a gun in his apartment.

When he was released, he wasted no time getting back to the road and his music. He performed his first New York shows in 25 years in 1994 when he was booked by Steve Weitzman at Tramps for three shows over two engagements in the summer and fall of that year.During the past four years, Arthur Lee has performed the entire "Forever Changes" album to sold out audiences and fantastic reviews throughout Europe and the United States. backed by the local LA group Baby Lemonade, and a string and horn section. Just when he thought his bad times were finally over, he learned he was sick.

Information regardiing the latest talent additions will be constantly updated on Arthur Lee's website, www.thelovesociety.com. In addition, Rolling Stone magazine has a preview article in their special 1,000th issue ("In The News" section, page 44). Fans who are unable to attend the concert and want to make a credit card donation to Arthur will find a link for that on his website.To everyone who has him in his or her thoughts, Arthur Lee sends his LOVE.'

For further contact: Steve Weitzman/SW Productions - 212-254-1725, steveweitzman10@hotmail.com.Mark Linn, Arthur Lee's manager - 615-480-6923, delmores@comcast.netAlicia Gelernt, Noble Music - 646-408-9645, alicia@noblemusic.net

[Thanks to Ian Grant for the info]

RIP: Desmond Dekker

KEITH RICHARDS WATCH: Richards is astounding his doctors, by the latest accounts, with the speed of his recovery. He is the man who cannot die by normal (or abnormal) means. He is not appearing in 'The Pirates of the Caribbean 2' as initially rumoured.

LEWES FOOTNOTE: Composed while listening to 'On The Boards' by Taste and 'Raw Sienna' by Savoy Brown - both on crunchy vinyl, whilst having tea with Russell, who reports that earlier in the day he spotted Nick Cave in a brown suit in Bill's, our local eating and meeting venue. The weather still hasn't improved.

IDENTITY CARDS/PASSPORT RENEWAL

Manek Dubash writes :
'IBM researcher Michael Osborne, whose job is research into secure ID cards, slated the UK government’s ID cards scheme on the grounds of cost, over-centralisation, and being the wrong tool for the job. Based in Big Blue’s Zurich research labs, where the scanning tunnelling microscope was invented and won its inventors a Nobel Prize, Osborne said that the problem is neither the cards nor the fact that the scheme is intended to use biometric technology.

The big issue is that the UK government, plans to set up a central database containing volumes of data about its citizens. Unlike other European governments, most of whom already use some form of ID card, the central database will allow connections between different identity contexts - such as driver, taxpayer, or healthcare recipient - which compromises security. Centrally-stored biometric data would be attractive to hackers, he said, adding that such data could be made anonymous but that the UK Government’s plans do not include such an implementation. '
See full story here: Techworld

To keep up with the latest developments on this topic, visit NO21D - the main site for the national campaign against ID cards and the National Identity Register. It is not affiliated to any political party and is funded almost entirely by voluntary donations. Founded in 2004, it aims to bring together people and organisations from all sections of the community in opposition to the Government's plan for compulsory registration, fingerprinting and lifelong tracking of all UK residents by means of a centralised 'identity' database. They want the public to be properly informed about a scheme that has kept invisible by spin, but that aims to transform all our lives. NO2ID is supported by over 70 organisations, including unions, political parties, and local
councils-and more than 30,000 individuals. They already have around 100 local groups across the UK. You can find the nearest one here

WHY YOU SHOULD RENEW YOUR PASSPORT NOW

Passports will change soon in order to force you to have a government ID card. On March 30th, the Identity Cards Act 2006 became law. Among other things this lets the Home Office turn your passport into a ‘designated document’ for its ID card scheme. That means that as soon as it is can—maybe in 2008 or 2009, but possibly before—the new ‘United Kingdom Identity & Passport Service’ (UKIPS) will refuse to renew your passport unless you attend an official interview and agree to be fingerprinted and give a wide range of personal information for a “National Identity Register” database.

The National Identity Register (NIR) will be the biggest store of personal data in the world. And once you are on it, you are on it for life. You will be required to update any details about you that change for the official record, or be fined. They want to make sure they know where you live. Every use of your passport will be recorded on the NIR—when you travel and whenever you use it to verify your identity, say at the bank or to get a job. That information may be seen by police, tax, housing, and benefits officials and thousands of other Government agencies. It may even be checked by private companies.

But for now you have a choice. The current rule is that you can renew your passport at any time. NO2ID got the Home Office to make its policy clear, and you can read it on the new UKIPS website: “You do not have to wait until your passport is nearly expired to renew it, but we can add no more than 9 months unexpired validity from the old passport to the new one. You can renew your passport whenever you wish, but you must pay the full fee and no refund can be given for the unexpired validity in the old passport”.

In other words, you can buy 10 years’ freedom from compulsory Registration on the NIR for just £51, right now. You may get slightly longer than 10 years on your new passport—but that’s entirely up to the Home Office. The government says the price will rise to at least £93 when it starts issuing ID cards. But the way you can get a passport will change from as early as October.

That’s why we suggest you act now and “renew for freedom”.

UPDATE: GORE AND LOVELOCK

Following on from my postings concerning my encounter with Al Gore and his latest activities (see: I Bought Al Gore Lunch: Real As Rain and Al Gore 2: An Inconvenient Truth ), the man himself popped up in major pieces in these two mainstream magazines in the same month.
We're all going green it seems and Al is the new Poster Boy of the Climate Change revolution. Chance to judge for yourself as Gore will be making a presentation of his no-holds-barred view of climate change on 21st June 2-4pm at Tate Britain. The event is being organised by The Carbon Neutral Company in conjunction with the All Party Parliamentary Climate Change Group. Immediately afterwards, CNC are co-hosting with BSkyB, a panel discussion about what UK business is and could do to achieve a step change in managing CO2 emissions.



Following on my from previous post on James Lovelock (see: James Lovelock: Man of the Moment ), purpose of which being to underline the fact that JL had been a longtime supporter of nuclear energy rather than a deep green who'd only recently changed his viewpoint, comes hard and fast evidence that, in fact, he has been part of the nuclear lobby for years to a much greater extent than previously realised and also had connections with the intelligence establishment.
See: http://www.nuclearspin.org/index.php/James_Lovelock

MUSICAL ROUNDUP

Guitar Man by Will Hodgkinson
[Bloomsbury 2006]
A Six-String Odyssey or You Love That Guitar More Than You Love Me

At the age of 34, Will – who had been told he was tone deaf at school, decides not only to learn the guitar and but also commits himself to performing before a live audience in six months time by boasting to all his friends.

In particular, he wants to learn and play ‘Anji’ by Davy Graham – a tricky but seminal guitar instrumental, recorded by Paul Simon and Bert Jansch amongst others.

Having exhausted the advice of immediate friends and colleagues, he begins roaming further afield and chats and take lessons from Johnny Marr and Bert Jansch. He goes to the States and meets Roger McGuinn in Orlando, travels to Nashville, Memphis and New York and on his return, buys an electric guitar and meets the legendary eccentric/reclusive Davy Graham himself.

In addition, he learns about such outsiders as Teddy Paige and Jackson C. Frank and such masters as Django Reinhart, Robert Johnson, Link Wray and Charlie Christian, and about the whole history of the instrument from Renaissance times to the present day.

The author if a born story teller with a delightful touch, who deftly interweaves these experiences and encounters with accounts of his attempts to form a band called Double Fantasy, and rehearse them in the basement of his family home and the impact that his whole adventure has on private life, especially on his long-suffering partner NJ. All ends happily in a successful gig and a final leeson from Jansch, who patiently takes him through ‘Anji’ until he more or less gets the hang of it.,

What could have been mawkish in the wrong hands, is instead, truly informative and inspiring. - a joyful, amusing, engaging book that should be read by anybody whose trying to learn or planning to learn the guitar. Also by anybody who plays guitar or is remotely interested in the instrument.

Read Will Hodgkinson's article on Davy Graham in The Guardian: 'The Original Guitar God'

DAVY GRAHAM
There is definitely a resurgence of interest in this beatnik pioneer. I well remember some years back now, excitedly discovering ‘Folk, Blues and Beyond’, originally recorded Decca in 1964 with Gus Dudgeon on the desk (now available again on Topic) and it remains my favourite – a perfect blend of styles and genres, way ahead of its time and highly influential.

Also re-released of late is another stunner – ‘Folk Roots, New Routes – by Davy Graham with Shirley Collins [A Wing and a Prayer 2005} which startlingly juxtaposes the pure trad folk voice and tunes of Shirley with esoteric and adventurous guitar work from Graham.

So enamoured did I become that I made strenuous efforts to track Graham down and book for one of our ‘New Beat Experience’ events in Brighton. No joy unfortunately.

Davy Graham Official site: http://www.daveygraham.moonfruit.com/
Apparently DG is at work on a new album called Fahrenheit and Centigrade
Outright Records: http://www.outrightrecords.co.uk/about_davy.htm
Find out more about Davy Graham and past releases
Davy Graham discography:http://kneeling.co.uk/frames2.asp?pages/davygraham/default.asp


CROSSING THE BRIDGE: THE SOUND OF ISTANBUL
Just been to see this remarkable music film at our local arthouse cinema (Duke of York’s in Brighton). A documentary journey, directed by Fatih Akin, through the musical underworlds of the music of Istanbul in the company of Alexander Hacke who records an extraordinary range of music – from heavy rap, experimental, Turkish pop, Romany and Kurdish to Pink-Floydie eastern psychedelia and much more. Moving and inspiring and a must see.
[The soundtrack album and book of the film are available. DVD is out on June 26th]

Here is the synopsis from the official press pack. Further details from the movies' official site: http://www.crossingthebridge.de/

'A maverick in Istanbul. ALEXANDER HACKE, a member of the German avant-garde band EINSTÜRZENDE NEUBAUTEN for more than 20 years, first came into contact with the city and its music while producing the score for the movie HEAD-ON (GEGEN DIE WAND). In Istanbul he met the members of the neo-psychedelic band BABA ZULA. When their bass player dropped out, he was asked to sit in for her. Alex Hacke is a collector of musical styles and loves to experiment with sound, and so it didn’t take much to persuade him. But he didn’t just bring his bass guitar, but also a complete mobile recording studio, including his “magic mike”, which he has used to capture exotic sounds from all over the world. He calls his approach to collecting sounds “street recording”, and it allows him to make professional recordings just about anywhere.

And so he sets out to capture the musical diversity of Istanbul onto his hard drive. His aim is to expose western ears to the broadest possible spectrum of Turkish music, ranging from modern electronic sounds, rock and hip-hop, right down to classical “Arabesque” music. FATIH AKIN, director of HEAD-ON, accompanies him with his camera and shoots a portrait of Istanbul’s lively music scene, whose music suffuses every part of the city, and which is dearly loved by all of its inhabitants. Hacke’s home base is the venerable Büyük Londra Oteli (Grand Hotel de Londres) in Istanbul’s district of Beyoglu, probably the most “European” spot in all of Turkey. From here he wanders through an alien, contradictory, lively, and seductive world, collecting impressions and tracks, drifting along in the unstoppable stream of this mega city of myriad facets.

But no hard drive or film can do justice to the diversity and overwhelming force of musical and visual impressions this city generates. With this experience he finally returns home, a musical treasure in his baggage, which now needs to be sifted and presented to the world.'

ON THE TURNTABLE

Joe Strummer & The Mescaleros – Streetcore [Hellcat Records 2003]
Amadou & Mariam: 1990-1995 The Best of the African Years [Syllart Productions 2005]
Toumani Diabate’s Symmetric Orchestra [World Circuit 2006]
Hamilton de Holanda – Samba do Avião [Kind of Blue 2006]
Anouar Braham – Le Voyage de Sahar [ECM 2006]
The Django Reinhardt Festival: Live At Birdland
[Kind of Blue 2006]

Compilations
Alligator Records 35 x35 (35 Songs, 35 Years of Genuine Houserockin’ Music) [2006].
The R&B Scene [Deram 1998]
The Blues Scene [Deram 1999]
Feber 2: Andres Lokko Folk [Amigo Musik 2005]
Play Back (Good Music Re-visited) [Sony BMG 2005]