Thursday, January 14, 2010

THE INFORMATION REVOLUTION: DIGITAL LIBRARIES

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Illustration: Bill Butcher

The previous post reminded me of  a piece I wrote for Connected, the digital supplement of The Telegraph newspaper - the first such supplement in the national press.

I was a regular feature writer for this and will be republishing more material from this working period in due course. One other, on H.A.L the computer in 2001, is already available on The Generalist.

[See Previous Post: ARTHUR C.CLARKE: CONNECTED]

This article was published on August 13th, 1996. At that time, still relatively early days in the digital revolution, the whole issue of what effect digital technology would have on paper-based libraries was an interesting topic. I was fortunate to be able to interview the top man at the British Library. The piece makes interesting reading in the light of later developments.

"It is the business of any  library to select, acquire,  organise, preserve and  make available the record I of knowledge and ideas,"  says John Mahoney, infor­mation systems director of the British Library. "This has been true since the Library of Alexan­dria and parchment. New technol­ogy is just another way of doing the same thing."

Mahoney says the spread of information networks and the growth of digital media is "as sig­nificant as the introduction of moveable type", but he refuses to be ruffled. "We have a piece of a 4,000-year-old tree bark from China with writing on it. We have the Diamond Sutra, which dates from 868." We're talking the long view here.

The library's institutional vision is clearly set out by its director, Brian Lang, in the introduction to its Information Systems Strategy Document. Here he says that "computers and telecommunica­tions are vital to the future of the library", which aims to become "a major centre for digital texts" and will use digital information sys­tems to "create more efficient library processes and services".

"We do not envisage an exclu­sively digital library," he writes. "We are aware that some people feel that digital materials will predominate in libraries of the future. Others anticipate that the impact will be slight."

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The British Library has 12 mil­lion items on its shelves, and is about to make the transition from its overcrowded British Museum premises to a controversial new £500 million base in St Pancras, the first part of which will be open next year.

This will have space for 1,200 readers and the purest air in London, thanks to the customised climate control system. Its four basement levels, descending nearly 23 metres, will contain 12 million volumes, and the building as a whole has 200 miles of shelv­ing and 1,900 miles of cables.

But in a digital age, the obvious question is: why build such a vast and costly temple to book preservation?

Mahoney argues that digital me­dia should not be seen as replacements for original documents, but as a means of enhancing access to them. Information technology, he argues, is a key component of a modern library, rather than a replacement for it.

"In the new library, each desk has a data and communication point, as many people will bring in PCs," he says. "But we can't afford to put in all the communica­tions links at the moment. Maybe in 10 years."

The library will not initially offer public access to the Net from the reading rooms. General Internet browsing can, it argues, be carried out just as well from other loca­tions. But in other areas, the library is already wired.

"At our big site in Boston Spa, 70 per cent of our requests come in electronically," says Mahoney.

"We are in discussion with pub­lishers over copyright issues, as we want to be able to respond elec­tronically." For the time being, readers are referred back to the physical originals.

One interesting aspect of increasing computer networking is that now no library is an island. "The global library is becoming a reality," says Mahoney.

Common standards and approaches — towards protocol, hardware and software, and what material should be digitised and what should be made available on the Net — must be developed on a global basis to be cost-effective and to avoid duplication and confusion.

In fact, the library community is increasingly interfacing with the Internetties to tackle problems involving classification and access.

One such development is the Z39-50 — a language allowing communication between non-compati­ble databases. Adopted as a US national stan­dard, libraries would like to use it to give all Web sites bibliographic tags, making online searching a lot faster and more exact and efficient.

However, W3C, the industry consortium dedicated to develop­ing common standards for the evo­lution of the Web, is unhappy about it and favours a less complex system called Z39-50 Lite.

Mahoney says: "We have increasing links with other major libraries and we are not in compe­tition. But none have the scope, age or breadth of material we have, which includes maps, sound archives and current publications. The same is true for our language and cultural content, our range of services and our publications."

The British Library derives more than one-third of its income (£30 million) from external ser­vices covering three major areas: publishing, document supply and professional services to other libraries.

The number of titles brought out each year year, including CD-Roms, makes it a medium-size publisher. Document supply, which provides by far the largest income, includes the supply of photocopies of scientific, technical and medical documents, of patents (it holds 40 million of them, the world's largest collection) and photographic services.

Seventy per cent of the library's £100 million budget comes from central government. Some 15 per cent of this total is spent on IT and telecoms, a percentage that has gone up steadily over the past few years.

Of the 2,400 staff, 1,400 are e-mail users. A wide-area telecoms network links all the library's sites and provides connections to Super-JANET and the Internet.

The British Library, in associa­tion with the British Film Institute has delivered a proposal to the Department of National Heritage) arguing for an extension to the existing legal deposit legislation which requires publishers deposit copies of everything publish in one of the five legal deposit libraries. The proposed extension would widen it to include non-print publications, such as texts on CD-Roms, films and sound recordings.

Would this include computer games? "The distinction we make in our active collection of materi­als," says Mahoney, "is of its research value to posterity. We don't collect board games now, and you might argue that these should be collected by a museum of games, a toy museum or a museum of childhood, rather than a national library."

However, he adds: "We have to accept whatever formats publishers produce in. The problem needs continuing attention. It might be that the best we can afford to do is preserve the data on the original carrier."

Then there's the thorny issue of copyright. "The ownership of Copyright-symbol intellectual property doesn't rest with the library," says Mahoney. "In order to develop new services, we need the understanding of all parties involved so that we can get the correct acknowledgments and handle payment of rights." Some material may be pay-to-view (probably using some kind of smart card payment system). After all, as Mahoney points out, if you take a photocopy, you have to pay for it, and there is a limit on the amount you can photocopy from one source. This way, copyright is maintained and access is allowed.

MAINTAINING free access to basic ser­vices is a fundamen­tal tenet of libraries, however, and, says Mahoney: "Society has for many years supported mass institutions to provide this basic service."

The British Library now has a Web site (portico.bl.uk), currently registering 350,000 accesses a month, but it couldn't put its catalogue on the Net because, says Ma­honey: "We couldn't handle the traffic on our servers."

Their Internet team is broadly dispersed throughout its system and contributors, with an editor and webmaster.

MagnaCarta One can view valuable manu­scripts, like the Magna Carta and the Leonardo sketch books and even zoom in on them. This project will be linked to CD-Rom publish­ing and interactive displays in the library's exhibition galleries.

Inside, the library is vast and  white, with craftsmanship in every-fitting. Brass-handled doors, round portholes, fretwork, sculptured seats for scholars are all eerily empty and waiting, like a huge film set.

The library says its strategy is changing from "an organisation that purchases, stores and pro­vides access to material to one which acts as intermediary between the providers of digital information and those seeking access to it across networks".

In the meantime, the library will continue on its stately, time-honoured course. From tree bark to computer disk is just another evo­lutionary step; the work of preserving the record of knowledge and ideas continues.

 

The next chapter beginsbiblioteca_digital

NATIONAL libraries around the world are engaged in system and standards development.

In America, the British Library report says, they are "developing a national information infrastructure based on the set of digital network technologies commonly known as the information superhighway".

The Library of Congress opened its Digital Library Visitors' Center in October 1994 and, with other US libraries, has also embarked on a massive digitisation programme of American historical collections. Under the National Digital Library Project, 20 per cent of the five million images in the Library of Congress's collection will be digitised by the year 2000.

Also at the forefront of these developments is the Science, Industry and Business Library (S1BL) in Manhattan, a branch of the New York Public Library. Widely viewed as a library prototype for the digital age, it was designed, in the vision of the architects, as a "library without walls... a transparent membrane through which information and resources flow freely between the library, international business and research communities and the public".

Its electronic information centre has 70 computers that provide visitors to its reading room with access to the Internet. The SIBL offers 24-hour online access to its catalogues and free classes on using the Internet. It also, incidentally, has five floors of books.

There are many co-operative initiatives under way in Europe, with funding from the Info 2000 programme.

The Bibliotheque National de France (BNF) is also planning computer systems for its new library in Paris, and has ambitious plans for digitising 100,000 books (30 million text pages) and 590,000 images.

Many argue that public libraries were established to provide books for readers who couldn't afford to buy them and are, therefore, the natural place for those who can't afford computers to gain Internet access.

The UK Office for Library and Information Networks recently found, however, that only one in five of its members currently offers Internet access, and public workstations are scarce. But a European initiative called Publica is looking into how the EU's 50,000 public libraries can be linked through networks and the Net.

In the US, Libraries Online, a £1-3 million project sponsored by Microsoft, aims to ensure that people without access can get online free. The Californian state government's InfoPeople project gives 180 communities access to the Net via public libraries.

The Australian government has committed £12 million to link all public libraries in the country to the Net.

Tuesday, January 12, 2010

ARCHIVE: NME/QUADROPHENIA 1

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This post is triggered off by listening to a Radio 4 documentary on the history of Mods, narrated by Phil Daniels - on the BBC I-player for a few more days.

This was, I believe, the first published story on the film, which appeared in the NME under my pseudonym Dick Tracy on May 12th 1979, some four months before the film was released. The interview with Phil Daniels was held back until the film's release in September.

I managed somehow to get this exclusive by gaining access to the screening for the cast and crew. I don't think any other journalists were present. That, of course, is the name of the game. Such a thing is less likely to happen these days when such matters are much more tightly controlled.

The piece begins with a stand-first, explaining the basic storyline. Piece is illustrated with a set of original film stills from The Generalist Archive.

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THE ACTION OF Quadrophenia covers a period of ten days in the life of Jimmy (Phil Daniels) before, during, and after the Battle of Brighton, highspot of the Mod's year. Jimmy has a hard time at home and a boring job in the postroom of a smart advertising agency. What he really lives for is the Mods — his scooter, his suits, his pills and his mates, Chalkie, Pete, Dave and Ferdy.

There are two big problems in his life: trying to make Steph (Leslie Ash) who doesn't want to know, and getting enough pills for the Brighton trip. He eventually scores some pills from local hoods but they're duff and he ends up breaking into a chemist's shop. After a few nights of Mod action — gatecrashing straight parties, beating up rockers — the gang head for Brighton and the real fun begins.

Led by Ace (Sting from The Police), the M waste an entire cafe of rockers before settii the police. Jimmy finally gets to make Step a back alley during the middle of the battle, shortly after gets arrested and, along with, receives a heavy fine next morning at the magistrates court.

Life holds little meaning for Jimmy after the Mods' finest hour. Steph has gone off with his best mate, his family throws him out, he chucks his job and finally, his scooter gets trashed.

Disillusioned, Jimmy blows all his money on pills and heads back to Brighton in search of his dreams. But there his final hopes are wrecked when he sees Ace as he really is.

With no one left to turn to, Jimmy nicks a scooter and heads out for the cliffs.

*

Can you see the real me?"screams Roger Daltrey as the curtains pull back and the screen fills with a cliff-top view of the sun setting over the sea. The lone Mod gazes into the distance, then turns and walks back towards the camera until his face fills the frame. The music kicks into high gear, the legend WHO FILMS appears and Jimmy rides out, blocked and happy, on his multi-mirrored scooter. Quadrophenia, that unusual state of mind, is now a movie.

The story of ten days in Jimmy's life will be instantly recognisable to the album owners and, like the vinyl version, the film is rough and energetic, realistic and accessible. It's also a lot of fun, and should produce widespread seat-damaging outbreaks when it reaches British screens next September.

You soon lose count of the number of pills swallowed during the proceedings and it's rare indeed to see kids beating the dust off policemen with so much abandon. Combine that with the male full-frontals and you've got the kind of picture that the True Blues love to hate.

The audience on the night I saw Quadrophenia previewed was limited mainly to the cast and crew of the picture, which proved a trifle disorientating for this writer. Looking around the obligatory post-screening drink session, these larger-than-life figures were all there in the foyer — but in different costumes. Two of the main Mods, for instance, turned up dressed in black bondage jumpsuits, gleaming with a million zips. The chief rocker had a new hairstyle and was outfitted like a member of Racey.

That aside, the main order of the day was to make contact with director Franc Roddam who, it turned out, was keen to meet before shooting off for the official premiere of the movie at the Cannes Film Festival this week. We synchronised engagement calendars and I headed off to do some homework.

WE MEET UP a week or so after the preview screening at a tastefully decorated converted warehouse situated in a back-street Soho mews. He's an approachable, fast-talking guy, obviously very ambitious and purposeful, who seems largely unaffected by his current success.

Roddam's name may be unfamiliar, as Quadrophenia is his first cinematic feature, but you've probably seen his work on TV. Having graduated from the London Film School followed by stint in advertising, the young Roddam moved to the BBC where he made the controversial All In The Family series and the startling Dummy, the story of a deaf and dumb prostitute which — rare for a TV play — scored highly in the ratings, pulling in an audience of 14 million.

He's recently come back from Hollywood where he was offered some half a dozen movie projects in two weeks. Pipe dreams have become reality for him and he can now afford to turn them down. Currently he's negotiating a three-picture contract with 20th Century Fox and has two ideas in development: one a story of immigrant Mexican workers to be filmed on location in California, the other a hush-hush environmental picture about resources.

Roddam almost didn't direct Quadrophenia at all. He was all set to make a TV film on IOS chief Bernie Cornfeld, the renegade financier. Roddam chuckles as he recalls his visit to Cornfeld's giant Los Angeles mansion, with its two hostesses in hot pants and the 15 limousines in the drive, all with flat tyres. The project fell through however when the powers that be put their money into another project, the recently screened Dirty Money—the saga of a daring French bank raid — so Roddam found himself with spare time. He explains how Quadrophenia came up.

"I went through a sort of audition period. Quite interesting. I was approached by producers Roy Baird and Bill Curbishley (also The Who's manager), then I finally met Townshend.

"Townshend had seen Dummy and liked it a lot. We found we were talking about the same sort of things, we had a similar attitude towards society and, strangely enough, a lot of our conversation centred on our attitudes towards punk.

"There had been an article in The Times about commodities and materials in response to a very outrageous 'These people ought to be shot' sort of letter — about the punks liking rubber and plastic and wearing swastikas. The reply had been written by a punk girl saying she felt sorry for this guy because what he didn't realise was that society has to keep re-examining itself, not only on an ethical level but also on a what-is-available level. There isn't enough stripped pine and cosy country houses to go round, and new generations are going to have to associate themselves with plastic and polystyrene and polyester.

"So punk isn't only a musical movement, it's also going to influence architecture, design, all sorts of things. Townshend and I came together on that. He's extremely bright, aware and well-informed ... a very rich man but still in touch. From that level we could then start talking about Quadrophenia."

So did you sit down with the album and work from there?

"Yes. The album works very well as an album but it doesn't work as a film. So I then had to take things away and add things to it, and certain basic principles had to be set out.

"I didn't want to make a rock opera for several reasons: I didn't think the subject was a rock opera type and I'm not that kind of director anyway. I've been brought up in the school of realism, so therefore I couldn't be a Ken Russell.

"Then there was a practical reason. I didn't just want to make a pale copy of Tommy, I wanted to move in a completely different direction — and that meant having a completely different approach to the music.

"In Tommy the music dominates the film and is the central driving force behind it, it controls the narrative. In Quadrophenia, the music contributes to the narrative and supports it but very rarely takes over from it. That's quite a difficult decision because it's putting the music in second place, so it's a very different kind of film.

"What I've done with Quadrophenia is.take the essence of the idea, the guts and power of the music and turn that into celluloid."

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Great pic. (l to r): John Entwhistle, Roger Daltrey, Phil Daniels, Franc Roddam

Did the Who have much of a say during the course of filming?

"They just kept a discreet distance. I was really impressed by them because they were supportive and never destructive. Entwistle came every day for the whole three-week dub. He worked as musical director and got all the music ready.

"Daltrey was interesting because he was like a conscience. He had a sort of Mod idea. If he ever came through it was that he didn't want to let the Mod thing down.

"Townshend, of course, was like a sort of guiding light. He was very gracious — gracious enough to say, 'I made the album, the film is yours. I trust you to go away and make it.'

"I was sad about Keith Moon because I was just getting to know him. When I first met him, he came in in jodhpurs, a monocle and with his big bodyguard. He terrified me in a way — and I've been around — but he had a tremendous talent for disorientating people.

"They said, This is Frank, he's going to direct the film', and Moon said: 'I've got a great idea — why don't we direct it together?'

"I said, 'Okay, if you let me play drums on your next album.' So we were alright after that."

Only four days out of the 57-day shooting period on Quadrophenia were devoted to studio work. The rest was all location, ranging from the backroads of Shepherd's Bush to Lewes Magistrates Court, from a barber's in Islington to the Basement Club in Covent Garden. And of course Brighton, where the climactic battles between mohair and leather take place and give a whole new meaning to the term "beach movie".

Roddam clearly enjoyed that experience.

"If the film takes on epic proportions at any place, it is during the Brighton scenes where we have 2,000 Mods and Rockers fighting. That's when it be comes a grander film.

"As a director I always thought you had to go as near to destruction as possible without hurting anybody or hurting the film." Judging by the footage, Roddam took it fairly close to the edge.

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Franc Roddam (right) filming on the beach near Brighton Pier.

Not surprisingly, Brighton Council wasn't too happy about the idea of the location shoot,but the police were only too ready to cooperate, probably looking on the opportunity as good training. In the face of the Council's attitude, Roddam just arrived, risking it.

His mass of real Mods and Rockers from all over the country, supplemented by a crew of extras drawn from the lines of the local employment exchange, simply took over the town. At one point they completely blocked the rush-hour traffic and caused a three-mile long tailback.

But ironically, one of the few casualties of the whole battle sequence was Roddam himself. While filming in the narrow alleyways of the Brighton Lanes, a supposedly docile police dog went for one of the cameramen, who whipped his camera round and caught Roddam in the head. Do they call that suffering for your art?

I  wondered how much the movie was a question of research, and how much was drawn from Roddam's personal experience?

"I was 18 in 1964 so therefore I grew up with the Mod movement even though I wasn't a Mod. So I wasn't a 45-year-old director saying, what did happen, how did they behave? I did go to parties like that.

"I come from a violent town, Cleveland on Teesside, so I did get involved in a lot of street fights. I also think I know the ambitions of that group of people. I know the economic problems. So I didn't have to do much research except to remind myself, to make sure my memory wasn't being distorted by affection or disaffection.

"People have very affectionate memories. They said the kids in my film are not stylish enough, but what they're remembering is the one Supermod. When they see the girls, they're remembering Cathy McGowan or Mary Quant.

"I used newspaper cuttings and photographs and music to get it accurate, but I still get challenged by a lot of people."

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The young Ray Winstone. Both he and Phil Daniels went straight from the set of Quadrophenia to appear in Scum.

Roddam considers himself a political filmmaker in the non-party sense, and feels that the film has something to say on that level. As he puts it: "If people go along with the crowd they often make decisions which I think are detrimental to society and humanity, so I would like to try and influence them. What I'm trying to do in Quadrophenia is to say, here's a guy who joins a group, gets carried along by the group ethic — which is not necessarily good. He must separate himself from that, try to be himself, look at things as an individual and decide for himself."

An understandable personal philosophy from a rnan who used to be a shipyard worker and is now a hot director. His attitude is clear, and he's not shy of expressing it.

"It's my job, I think, to manipulate an audience, to make them conscious of certain things I'm anxious about, to shed light on common experience.

"When I left film school I had the opportunity to make arty films for minority audiences or to try and make films that would reach mass audiences. I believe you can make an artistic film, a socially aware film, an important film, and still make it commercial. That's my big ambition."

A scooter crashes on the rocks and smashes to bits. The curtain closes.

ARCHIVE: QUADROPHENIA 2/PHIL DANIELS

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The original piece in the 'Silver Screen' film section of the NME. I'm pretty sure the photo was taken by Pennie Smith, although she is not credited. This is one of the few pieces that appeared in the paper under my own name rather than my pen name Dick Tracy

This follow-up piece was printed in the NME on the 29th September 1979. I think it was the first (certainly one of the first) interviews he had done. I took the decision to run the piece in his own words, which I'm not sure he liked.

PHIL DANIELS is 20. He's not in a new wave band, he's an actor, one that you're going to be hearing a great deal more of in the months to come.

After serving his apprenticeship in 45 television dramas and a number of stage parts, Phil has now hit the big screen. He plays a bugler in Zulu Dawn, a "sex maniac, educationally sub-normal mongrel" in The Class of Miss MacMichael and, more importantly, stars as Jimmy in Quadrophenia and as Richards in the movie version of the banned TV play Scum.

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The prospect of celluloid fame concerns him but his attitude should see him through. He's cocky, sharp and wants to keep working, to be a really good actor.

This is Phil Daniels, in his own words.

“When I was fourteen, nothin' to do, a theatre workshop called Amateur Children's Theatre came to King's Cross where I lived and done theatre workshop. There was a girl I quite fancied that was going up there and I went up really to try and see if I could talk to this girl.

"I just carried on from there. I just kept going and after about four weeks the BBC needed some gnomes and little things for Falstaff and I got a part. I still weren't interested in bein' an actor that much but I thought it was good anyway. Then all of a sudden I kept landing parts and just carried on.

"My agent got me an audition for Quadrophenia and I went down there. I'd just come back from South Africa, I done a film there (Zulu Dawn), and I caught something out there and my tongue split in half and went yellow and I couldn't eat for a week, only drink fluid. I dunno what it was but antibiotics cured it.

"I went about four days after I come back and being out in Zululand and, you know, comin' back and being a Mod. Put on a pair of cord trousers, football shirt. Didn't know what was happening and like I see Franc (Roddam) and I knew that it weren't on. I thought 'I've really blown this'.

"We started in Brighton, did the end first. We just got all of us there and they said 'Listen, in '64 these cats came down to Brighton and there was a riot here", and the boys were going 'Yeah, yeah, riot. Yeah, 'course there is, 'course there's a riot", and we just started walking down the promenade, started singing and stuff, and then we just wreck the place really. But it wasn't terrifying 'cos I was a Mod. It was like a newsfilm doin' it but it didn't get too hairy."

"I had a really interesting talk to Roger Daltrey one day on the beach in Brighton. He's sayin' there's a Jimmy in all of us, we're all Jimmy in a way. Like if you come out of that Mod era, that mum and dad number, you know, the music's too loud.

"So that's how I try to play it, like a typical kid. In the film he's an anti-hero. You've got to have that focal point but I try and make him a bit of a wanker as well.

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"Townshend came down one morning to the Pie and Mash Shop while we were filmin', just for publicity I think, press and stuff, but I go mad. I see Townshend there, I think to myself, What! What! Pete Townshend he’s brilliant, brilliant.

Yeah, I done background stuff. Like I went and saw some old Mods all around London. A guy called Tommy Shelley, like he's a bit of a famous old Mod and he gives me a lot of clues about the style of the guys. Things like how to ride your scooter and how you are with women.

"I see some old footage of Mods but I thought meself, like from my past, it's just the same thing. All my mates were sort of Mods, but they just haven't got the thing of saying they're a Mod.

"Really I'm an actor you see and I'll do anything, but I feel a bit Mod. It's a good look.

"I don't think the Mods are the same now as they were. Then you was a Mod 'cos that's what happened, now it's just a trend. I think if you're a Mod you can only be a Mod for so long, you can never be a Mod forever, because in the end I think you realise you're as much a part of the system as anything else. Bein' a Mod, it's like bein' in the army. You know, he's a Mod, he's a Rocker. I don't like that. I rather people get on with people whoever they are

"I had about four days off from Quadrophenia then on to Scum. We done that in six weeks. That was really hard work.

"I play this guy "Stripey" Richards. He was me background, I reckon. He was always bein' done for fighting and he striped a bloke in a fight and got put away. But I think he'd been put away about three times before so he's used to it.

"He and another guy called Pongo Banks run the borstal, the Daddy. When people come in for visits they give their sons money, we take the money off them and give it to the screws and we get a percentage, and like if anybody's out of order, the screws will just tell us and we'll keep them in order.

"There's a new guy comes called Carlin and we're told to keep 'im in order cause he's hit an officer in another borstal. We give 'im a good going-over but slowly he gets us back, one by one, until he's the Daddy.

"We filmed it at Shenley, where government and things send old people to die slowly. They got these little villas in the grounds and there's like a circuit you keep walkin' round and round all day long. You can see these really depressing cases, old dears and old men, walkin' round and round. Like they pump 'em with drugs and stuff to keep 'em calm. Put bromide in their dinner so they can't get the horn.

"It's a terrible scene, borstal for a kid, 'cause you never will ever learn trust, you never regain that. If you're put in an institution you can't come out and just live a normal life again. But you gotta go down to the root of the problem I suppose, 'bout doin' things in the first place.

"I think the film takes a stand of just showing you incidents that definitely happen in borstal and I think it's pretty true to life, in my estimation. If you're doin' something about borstal, you can't talk like Laurence Olivier. Like the guys who played the screws, they got into it I tell you. Blimey, some of them slappings we got, they tingled a bit.

"I like actors in roles. I do like de Niro very much. Mean Streets is a brilliant film. Him I like. Dirk Bogarde, I really rate him.

"What I want to do now I've sorted me head out a bit, I just want to do things that I think are good, morally good — not talkin' bout fuckin' morals — but things that are spot on about right things."

THE RETURN OF THUNDERCLAP NEWMAN

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Back cover adverts from the legendary music mag Zigzag. See next post.

I'm excited! On Friday February 19th, I'm promoting a gig at the Con Club in Lewes featuring Thunderclap Newman, a new version of which are on the road - and our gig is the first of the tour. The five-piece band includes Andy Newman (the original), Mark Brzezicki (former Big Country) and Josh Townsend (Pete's nephew) + Nick Johnson and Tony Stubbings. As I understand, they'll be playing the first album in full.

The original band was Andy, John "Speedy" Keen and Jimmy McCulloch. Sadly both Speedy and Jimmy have passed on - Speedy in 2002 aged 56: Jimmy in 1979, aged just 26.

'Something in the Air' was always one of my favourite tracks of all time and is still an uplifting song. I was friends for a while with Speedy Keen back in the 1970s when he was hanging out at Dierdrie Redgrave's place in Earl's Court. A difficult diamond geezer.

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The augmented line-up following the No 1 success of 'Something in the Air'. [Left to right]: Jim Pitman-Avory, Andy Newman (in policeman's uniform), Jack McCulloch, Jimmy McCulloch, John "Speedy" Keen.

In 1969, Pete Townshend of The Who, helped create the band to play songs written by former Who roadie, drummer/singer John 'Speedy' Keen. Townshend produced the single “Something In The Air”, arranged its strings, played its bass under the pseudonym Bijou Drains, recorded it at his house and hired for it eccentric GPO engineer and jazz pianist Andy 'Thunderclap' Newman and 15-year-old Glaswegian guitarist Jimmy McCulloch.

Originally titled "Revolution", but later renamed because the Beatles released a single of that name, "Something in the Air" captured post-flower power rebellion, marrying McCulloch's sweeping acoustic and glowing electric guitars, Keen's powerful drumming and yearning falsetto, and Newman's felicitous piano solo.

The single was No. 1 after just three weeks (hitting the top the week of the moon landing) holding off Elvis Presley in the process. The scale of the song's success surprised everyone, and there were no plans to promote Thunderclap Newman with live performances. Eventually a line-up, augmented by Jim Pitman-Avory on bass and McCulloch's elder brother Jack on drums was formed.

"Something in the Air" has appeared on the soundtracks of the films The Magic Christian (1969), Almost Famous (2000), The Girl Next Door (2004), and The Strawberry Statement (1970) plus many TV advertisements including Vodaphone and British Airways.

Links:

http://en.wikipedia.org/wiki/Thunderclap_Newman

www.youtube.com/watch?v=2JAXKIKehbc

ARCHIVE: ZIGZAG MAGAZINE

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KEY TO ZIGZAG COVERS [FROM TOP LEFT]             (1) Sandy Denny/Fairport Convention; (2) Bob Dylan;   (3) Frank Zappa; (4) Edgar Broughton; (5) Jeff Beck;    (6) Marsha Hunt (foldout cover); (7) Dora Henderson;   (8) Captain Beeheart/John Lennon/Mick Ralphs of Mott the Hoople/Jackie Lomax; (9) Joe Cocker; (10) Arthur Lee/Love; (11) Crosby, Stills, Nash & Young; (12) Edgar Broughton Band; (13) The Byrds; (14) The Grateful Dead; (15) Leon Russell/Grace Slick; Joni Mitchell; Manfred Mann; (16) Jim Morrison/The Doors.

It's always nice to add something to the Internet from The Generalist Archive, in this case the covers of the first 16 issues of one of the great rock magazines of the 1960s/1970s - ZIGZAG. Founded by Pete Frame of Rock Family Trees fame and rock journalist John Tobler, it was first published in 1969 and went through various incarnations until the 1980s [See: Wikipedia entry - which needs some work] Not to be confused with a surfing magazine of the same name. These are quite rare copies now. Hope this is of interest.

SEE PREVIOUS POST: REWRITING MUSIC HISTORY. Includes a review of Pete Frame's brilliant book 'The Restless Generation.'

See also:

A 1999 interview with Pete Frame on a site called Clouds and Clocks

Zigzag: A 40th Birthday Tribute to the Magazine That Changed Our Lives by Nigel Cross

 

Monday, January 04, 2010

EARTHED: GREEN TECHNOLOGY DIGEST

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Eco Factor: Sustainable pavilion designed for the Shanghai World Expo 2010  designed by Atelier Feichang Jianzhu. The interior spaces of the pavilion will be shaped as a series of free-flowing forms and will not be enclosed by walls of a static kind. The walls will rather make use of a cubic volume of infrastructural network including LED lights and a mist-making system, which has the ability to transform the shape of the building in a moment. The building will feature a 1600m2 solar heat-collection tube on the roof, which will provide hot water and use ultra-low temperature power generation technology to generate renewable electricity using solar energy. The external façade of the pavilion will be made using polycarbonate transparent tubes that are made from recycled CDs. In addition to this, the pavilion will also harvest rainwater and recycle it for daily purposes and for the mist-generating system, which will also regulate temperature and purify the air. Source: ArchDaily  S_NW000122

In the week since my last post on this topic,

EARTHED: GREEN TECHNOLOGY REVOLUTION

some significant developments and interesting thinking.

Sun, wind and wave-powered: Europe unites to build renewable energy 'supergrid'

by Alok Jha [The Guardian. 3 Jan 2010]

Green technology to be used by top firms to overhaul UK homes

by Nick Mathiason [The Guardian 1 Jan 2010]

Government must 'green economy and create jobs' FSA chief says

by Ashley Seager [The Guardian 1 Jan 2010]

green-recycle-imgMore businesses here turning to green technology

By Amresh Gunasingham [The Straits Times 4 Jan 2010]

Investing in green technology

by Jorge Osit [Manila Bulletin. 3 Jan 2010]

Concern as China clamps down on rare earth exports

Neodymium is one of 17 metals crucial to green technology. There’s only one snag – China produces 97% of the world’s supply. And they’re not selling

By Cahal Milmo [The Independent 2 Jan 2010]

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Cutting Through The Hype Around "Green"

by Charles Cooper [ The Green Eye/CBS News. 4 Jan 2010]

Jean Todt to push for 'green' technology in Formula 1

Formula 1 bosses are to investigate ways of promoting the advance of environmentally friendly technology. [BBC. 28 Dec 2009]

12_22_09_green_condom Contraception is 'greenest' technology
Are condoms and birth control pills more cost effective than windmills and solar panels as tools to curb global warming? Yes, and by a wide margin, contends a recent study from the London School of Economics asserting that family planning is nearly five times more cost effective in mitigating global warming emissions than green energy technologies like wind and solar power.

by Weston Sedgwick [Green Technology Daily.Com. 22 December 2009]

Saturday, January 02, 2010

THE GENERALIST IS GROWING UP

IMAG0006'The important thing is not to stop questioning. Curiosity has its own reason for existing. One cannot help but be in awe when he contemplates the mysteries of eternity, of life, of the marvelous structure of reality. It is enough if one tries merely to comprehend a little of this mystery every day. Never lose a holy curiosity." - Albert Einstein.

This year THE GENERALIST continued its remorseless progress - receiving 23,346 unique visitors and 28,815 downloads in 2009 - a further significant increase in our traffic, from many parts of the world. Thanks to you all. Your continued interest and support is highly valued. Please use 'word of mouse' to encourage others to explore our eclectic infomix.

THE GENERALIST will be celebrating its 5th birthday this June.

New Year greetings to you all.

Friday, January 01, 2010

CURIOUS FACTS: BLUE MOON

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Above: One way to make a blue moon: use a blue filter. That's what Kostian Iftica did on July 2nd when he photographed this full moon rising over Brighton, Mass. [Source: NASA]

The end of the year, the end of a decade, signaled by a 'blue' moon on New Year's Eve. Or was it? Hereby hangs a tale.

If you read most of the popular pieces that appeared in the press over the last days, they assert that a 'blue moon' occurs when there are two moons in a calendar month; the 'blue moon' being the second.

According to the Winnipeg Free Press: 'It boils down to a matter of mathematics. We use lunar cycles to plot our calendar years. Most have 12 full moons -- one per month. Solar calendars and lunar calendars are not identical. Solar calendars have roughly 11 more days. Because the extra days carry over, eventually there is an extra full moon every two or three years.'

According to 'A blue moon to end the year' by Judy Siegel-Itzkovich [Jerusalem Post 31st December 2009]: '...blue moons occur - on average - every 2.7 years, according to astronomers. The next one will be in August 2012. Blue moons occur when the solar and lunar calendars don't correspond, as a year in the Gregorian calendar has about 11 more days than it would if every month were a lunar month of 29.5 days.

So far, so good? Actually, no!

Back in 1993, folklorist Philip Hiscock of the MUN Folklore & Language Archive at the Memorial University of Newfoundland, published his findings into the 'Folklore of the "Blue Moon."

The moon is a popular subject in folklore history and both monthly and seasonal moons were given names (Harvest and Hunter being two examples). Most almanacs list 12. But "blue moons" are different as they are not restricted to a time of year. Hiscock set out to find the origin of the term - and the connected phrase 'once in a blue moon.'

He counted six meanings:

1 and 2: Hiscock writes: 'Four hundred years ago, if someone said, "He would argue the moon was blue," the average sixteenth century man would take it the way we understand, "He'd argue that black is white." This understanding of a blue moon being absurd (the first meaning) led eventually to a second meaning, that of "never."

According to Once in a New Year's Eve Blue Moon by Cristine Russell [The Atlantic  magazine. 31st December 2009] the earliest known reference in print referring to a "blue moon" 'comes from a 1528 work entitled the 'Treatyse of the Buryall of the Masse' by William Barlow, the Bishop of Chichester, which includes the following reference.

       "Yf they saye the mone is belewe,      

We mus beleve that it is true"

3. The third meaning refers to the fact that, occasionally, the moon does actually appear to blue. This, we now know, is due to the atmospheric effect of volcanic eruptions or forest fires.

According to NASA: 'The key to a blue moon is having in the air lots of particles slightly wider than the wavelength of red light (0.7 micron)--and no other sizes present. This is rare, but volcanoes sometimes spit out such clouds, as do forest fires'

This happened after the explosion  of the Indonesian volcano Krakatoa in 1883, which produced blue moons and green sunsets for some two years. It also occurred in 1951 as a result of  huge forest fires in Canada and Sweden.

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An extraordinary forest fire image. Credit: John McColgan/BLM Alaska Fire Service]

4. Hiscock writes: 'Even by the mid-nineteenth century it was clear that although visually blue moons were rare, they did happen from time to time. So the phrase "once in a blue moon" came about. It meant then exactly what it means today--that an event was fairly infrequent, but not quite regular enough to pinpoint.'

5. Hiscock's fifth meaning is taken from popular songs in which the "blue moon" is a symbol of sadness and loneliness.

6. This sixth meaning, and the most recent, is that a "blue moon" is the second full moon in a month, which is where this piece started out.

Hiscock writes that he first became aware of this new definition in May 1988, a month with two full moons, when he was fielding media calls regarding this bit of "old folklore."

As a result, he searched high and low for references to this, or to other terms to describe two moons in a calendar month. He consulted with other folklorists worldwide but with no success. He writes: "Blue moon" seemed to be a truly modern piece of folklore, masquerading as something old.'

Eventually he did track it down, via a question in 'Trivial Pursuit'. The TM records showed that the fact came from a 1985 children's book called 'Kids' World Almanac of Record and Facts' [World Almanac Publications. NY. 1985]. Where the authors got it from, no-one seemed to know.

Further research by Hiscock and others, has suggested that their most likely source  was a US radio programme called 'Star Date', featuring Deborah Byrd, which was broadcast on 31st January 1980. 

From here, the trail led to an astronomical magazine 'Sky & Telescope' - the source of the original error.

In a detailed modern article in the same magazine on this topic -  'What's a Blue Moon' by Roger W. Sinnott et al - the authors report that they found Byrd's original program script, which confirms, in a footnote (never read out), that the source for the information was a 1946 article in S&T by amateur astronomer James Hugh Pruett.

Pruett in turn, refers back to an earlier Q&A column in S&T (June 1943) in which one Laurence J. Lafleur discusses blue moons and cites the 1937 Maine Farmers Almanac as his source. [This did list "blue moons", and defined them in a complicated way (which Sinott et al explain in detail). In the Almanac's view, when a season contains four full moons, the third is called a Blue Moon.]

Pruett repeated Lafleur's comments but, not having the Almanac, he misinterpreted their findings, writing: 'Seven times in 109 years there were - and still are - 13 full moons in a year. This gives 11 months with one full moon each and one with two. The second one in a month, so I interpret it, was called Blue Moon.'

This then is the long track that led to this 'fact' entering the mainstream media. Its an interesting case study.

Hiscock concluded: "Old folklore" it is not but real folklore it is.' 

Sources: The full version of Philip Hiscock's article 'Folklore of the "Blue Moon" can be found on the International Planetarium site.  He later wrote another version entitled 'Once in a Blue Moon' which appeared in Sky & Telescope.

Tuesday, December 29, 2009

2010: THE INTERNATIONAL YEAR OF BIODIVERSITY

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Source: VOICES IN THE WILDERNESS: A Prayer for Wild Things

The Millennium Ecosystems Assessment - the first comprehensive assessment of the status of the world's natural resources in terms of their contributions to human life and well-being - was  completed in 2005 by more than 1,360 scientists working in 95 countries.

They  found that changes in biodiversity due to human activities were occurring more rapidly in the past 5o years than at any time in human history, and that the direct causes (or drivers) of this loss are either remaining steady, showing no evidence of decline over time, or are increasing in intensity over time.

In effect, we are currently responsible for the sixth major extinction event in the history of the Earth, and the greatest since the dinosaurs disappeared, 65 million years ago.

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The United Nations declared 2010 to be the International Year of Biodiversity. It is a celebration of life on earth and of the value of biodiversity for our lives. The world is invited to take action in 2010 to safeguard the variety of life on earth: biodiversity

The Convention on Biological Diversity, a legally binding global treaty, was opened for signature at the Rio Earth Summit in 1992 and entered into force in 1993. The Convention has since been signed by 187 countries and the European Community.

In 2002, at a meeting of the Parties to the Convention, it was acknowledged that biodiversity loss was still accelerating at a rapid rate. A Strategic Plan was adopted, later endorsed at the Johannesburg World Summit on Sustainable Development. Its aim was to achieve, by 2010, a significant reduction in the current rate of biodiversity loss.

You can download keynote document Global Biodiversity Outlook 2 (published in 2006).

GBO-3 will be launched in 2010. Currently in draft synthesis form, open to reviewers comments until the end of this week.

The UN International Day for Biological Diversity is on the 22nd of  May.

 

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A pygmy owl on Mt Fitzroy, Argentina.

Source: VOICES IN THE WILDERNESS: A Prayer for Wild Things

See Also:

BIODIVERSITY HOSPOTS : The most remarkable places on earth are also the most threatened. These are the Hotspots, the richest and most threatened reservoirs of plant and animal life on Earth. This is an excellent website from Conservation International, centred around a global interactive map.

Numbers of Living Species in Australia and the World (2nd edition)

This 2009 report by A.D.Chapman is recommended by David Attenborough as the most reliable document available.

'The total number of accepted described species in the world is estimated to be close to 1,900,000, well above the 1,786,000 given in 2006. Worldwide, about 18, 000 new species are being described each year and for the year 2007, 75% of these were invertebrates, 11% vascular plants and nearly 7% vertebrates.'

redlist_logo The IUCN Red List of Threatened Species™   is widely recognized as the most comprehensive, objective global approach for evaluating the conservation status of plant and animal species. From its small beginning, the IUCN Red List has grown in size and complexity and now plays an increasingly prominent role in guiding conservation activities of governments, NGOs and scientific institutions.

In a new report (Dec 2009)  titled “Species Feeling the Heat: Connecting Deforestation and Climate Change,”  the Wildlife Conservation Society profile more than a dozen animal species and groups impacted by changing land and sea temperatures, shifting rain patterns, exposure to new pathogens and disease, and increased threats of predation.

BIODIVERSITY 2010: HOPE DIES LAST

Goodall1403 Jane Goodall is a woman with a mission. Most famous for her work for chimpanzees in the 1970s, she has devoted her life to nature conservation and  travels the world constantly, admonishing and encouraging lawmakers and politicians to do the right thing, energising and inspiring young people with a message of hope for the future.

Goodall (such an appropriate name) has four reasons for hope: 'our quite extraordinary intellect, the resilience of nature, the energy and commitment of informed young people who are empowered to act, and the indomitable human spirit.'

This book is a testament to these beliefs, profiling as it does numerous individuals who, by virtue of their extensive commitment and deep love for the creatures they are trying to help, have succeeded in rescuing endangered species from extinction, mainly through captive breeding.

Some have been re-established in the wild including the Californian Condor and Red Wolf in the USA, The Crested Ibis in China, the Golden Lion Tamarin in  Brazil, the Mala Hare-Wallaby in Australia. Others, such as the Iberian lynx and the Bactrian camel, and the giant panda, will only survive long-term if areas of natural habitat safe from human encroachment, are provided for their protection.

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Christmas Island Park Manager Max Orchard and his wife Beverley have spent 16 years nurturing injured or orphaned Abbot's boobies. The numbers of these birds, which nestonly   on Christmas Island have declined dramatically due to phosphate mining destroying their habitat.

Another section looks at what the book calls 'The Heroic Struggle to Save Our Island Birds - the Black Robin in New Zealand, the Stellar Albatross in Japan and the birds of Mauritius amongst them.

This is followed by 'The Thrill of Discovery', which tells the stories of new species still being discovered and the rediscovery of species that were believed to be extinct, like the coelecanth and the Wollemi pine.

There are many fascinating stories like the successful efforts to teach young whooping cranes to migrate from Wisconsin to Florida by leading them on the route with a human in an ultralight aircraft. Jane Goodall talks about this on a video embedded in the book's complementary website which includes many other additional species survival stories.

Jane Goodall says she is often accused of being unrealistically optimistic. In fact, she deserves our thanks and praise for keeping hopes alive and inspiring millions of people the world over with her undinting efforts, to make us see the beauty and importance of nature and to encourage us all to do more to help preserve it.

'Hope for Animals and Their World' by Jane Goodall with Thane Maynard and Gail Hudson [Icon Books UK/£17.99]

BIODIVERSITY 2010: ASIAN VULTURES

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The Indian white-rumped vulture (Gyps bengalensis), a critically endangered species which has lost 99.9 percent of its population due to diclofenac poisoning. Source: Scientific American

One of the most important stories in Jane Goodall's book concerns the three species of now critically endangered Asian Vultures. At one time, India had the highest density of vultures anywhere - close to 87 million - and the highest number of cattle in the world - 900 million. The vultures did an efficient job of cleaning up the 10 million or so dead cattle per year. Then, in the 1990s, the vultures started dying in huge numbers. Their populations fell by 97 per cent in one decade. - one of the steepest declines experienced by any bird species.

In 2003 the culprit was identified - an anti-inflammatory pain-killing drug diclofenac used in veterinary medicine to treat colic in cattle. In vultures, it caused a deadly kidney ailment. This has now been banned, captive breeding sites for each species has been established, but the problems involved in saving these birds are immense.

In their absence, populations of feral dogs and rats have taken over their scavenging role and have multiplied in numbers, with subsequent effect on the human population, as both species carry rabies.

A 2007 study by the Bombay Natural History Society, a M_Id_834 conservation group, estimated there were only about 11,000 white-backed, 1,000 slender-billed and 44,000 long-billed vultures left in the wild in India.

In December 2009, further problems were identified. A ban on diclofenac had led to a safe alternative being used - ketoprofen - which conservationists believed to be harmless to the birds. Now it seems that this drug also is lethal to vultures in large doses. Another drug, meloxicam, is now recommended as the safe alternative. [See: 'New drug threatens India's endangered vultures' by Elizabeth Roche (AFP)]

See also:

Birdlife International's account of the Asia vulture crisis

Wildlife film-maker Mike Pandey's site and his film 'Broken Wings'

'Following their broken wings' - An Indian Express article on Pandey's film.

UPDATE

Vultures face extinction as gamblers seek visions of the future

Inhaling smoked vulture's brain confers gift of premonition, according to vendors of traditional medicine in parts of Africa. [The Guardian. 30th December 2009]

Sunday, December 27, 2009

EARTHED: GREEN TECHNOLOGY REVOLUTION

futuristic-green-architecture-and-design

Source: 24 Fantastic Future Wonders of Green Design from the excellent WebUrbanist site.

Post-Copenhagen, you could be forgiven for thinking that the game is up, that the world is going to end. The stentorian arguments between 'climate change believers' and 'climate deniers' escalated into an emotional and unhelpful tirade of accusations and counter-accusations, with a fervour of a religious dispute. On the streets, protestors were given short shrift by sci-fi police. In the chamber, the vast mass of 'developing' nations were sidelined whilst China, US, France, UK and significant others hatched a leaky deal. The mainstream media fuelled the atmosphere with incendiary headlines. What a cacophony!

Meantime, behind the scenes, the really important story is unfolding.

What follows is a summary of the main arguments of  a report from the Copenhagen Consensus on Climate which points the way forward. The paper is called 'An Analysis of a Technology-led  Climate Policy as a Response to Climate Change' by Isabel Galiana & Christopher Green of McGill University. [This link gives you a video presentation and a pdf of the whole report]

The summary of their arguments is as follows:

1. Human induced climate change is a problem, that left unattended will become more serious as the century progresses.

2. To substantially reduce global GHG emissions will require a technological revolution.

3. Our paper demonstrates that:

- The magnitude of the technology challenge is huge.

- The required technologies are not ready - and many still require  basic research and development.

- A policy of “brute force” mitigation to meet arbitrary and time-specific emission reduction targets will not work. One cannot cap CO  emissions unless there are good, non
carbon-emitting energy and/or energy technology substitutes.

- A policy that sets aside targets and puts the up-front emphasis on energy R&D, infrastructure, and deployment of ready technologies is intuitively sensible and workable.

- Carbon pricing has an important  ancillary role to play, first as a means of long-term financing of energy R&D, technology testing, and energy infrastructure development and renewal , and second as a means of sending a “forward price signal” as an (initially) low carbon price (say $5.00/tCO ) slowly and steadily rises over time (doubling say, every 10 years).
        
4.  A technology-led climate policy could generate an energy technology race that would challenge the creativity of the younger generations while minimizing sacrifice in lost economic activity or a weakened energy system. In contrast, “brute force” mitigation would require large sacrifices with no assurance of a stronger and more resilient energy system.

5.  Although we have neither discussed nor placed a value on spillovers from energy technology R&D into non-energy uses, it is likely that an energy technology race could generate many external benefits which could potentially prove to be as important as the
contribution to reducing GHG emissions.'

This is an important and significant paper that provides a much-needed focus for practically addressing the challenges of the near future.

The Generalist has been following this track since 1997 and has consistently argued that there is a 'new industrial/energy revolution' in progress.

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If you don't believe it is happening see

The Unlikely Green Revolution of the US Military

Source: The excellent Skilluminati Research

 

See The Generalist's Previous Posts:

THE DESERTEC INDUSTRIAL INITIATIVE

CHINA KICKS OFF THE GREEN ENERGY LOW-CARBON ENERGY EFFICIENCY - GREEN TRANSPORT REVOLUTION

OBAMA: GREEN NEW DEAL

GORE WATCH: THE SMART GRID

  • EARTHED; THE NEW ENERGY REVOLUTION
  • EARTHED: THE RETAIL REVOLUTION
  • EARTHED: BIOFUELS & BRANSON
  • EARTHED: GREEN CAR GUIDE
  • EARTHED: E-WASTE

    THE GLOBAL NUCLEAR ENERGY PARTNERSHIP

  • EARTHED: AMORY LOVINS
  • EARTHED: AMORY LOVINS 2

  • Earthed: The New Industrial Revolution
  • Nanocars