Showing posts with label music. Show all posts
Showing posts with label music. Show all posts

Monday, 4 October 2021

We Can't Make It Here Anymore by James McMurtry: the state of America

James McMurtry performs We Can't Make It Here Anymore

James McMurtry recorded this video in 2007 and the message is becoming increasingly apt for our modern times as the superpower implodes and America rips itself apart.

This is the state of the richest country on Earth after the oligarchy bled it dry. What they did to their own people should serve as a warning.

We're seeing the same happen in the UK.

The oligarchs ate your wealth and now they want to do the same to China, our global lifeboat.

No wonder they're spending billions on dirty tricks and propaganda.

Hat tip to Patrick Eden for the link.

In 1945-1981, earnings for the bottom 90 per cent of Americans rose 77 per cent. In 1981 - 2014, they shrank by 3 per cent. For the top 1 per cent, in 1945-1981, earnings rose 29 per cent, while from 1981-2014, their wealth rose 176 per cent. This is where America's schools, healthcare, roads, bridges and rail infrastructure have gone.
THE WEALTHIEST 26 PEOPLE ON THE PLANET OWN AS MUCH AS THE BOTTOM HALF OF THE WORLD'S POPULATION — AUSTERITY IS THE TRANSFER OF WEALTH FROM THE POOR TO THE RICH.
The top 0.1 per cent in America now own the same amount of wealth as the bottom 90 per cent. The top 0.01 per cent own 11.2 per cent of America's wealth.

Friday, 16 March 2018

Anna Chen's band The Snow Leopards - photos from the mists of time

Found some old pics of me with my band, The Snow Leopards. Even before Apple! Well, it was long, long time ago in a universe far, far away ...

Cruella coat designed by Dave Vanian's girlfriend, Laurie, in the King's Road days.



Wednesday, 1 July 2015

Chopsticks At Dawn on BBC Radio 4 Extra, Thursday 2nd July

My programme, Chopsticks At Dawn, about chinoiserie clichés in music, is on tomorrow BBC Radio 4 Extra & iPlayer.

It's on four times: 6:30; 13:30; 20:30 and again the next morning at 01:30, so no excuses.

First broadcast 2010 on BBC Radio 4.

Produced by Chris Eldon-Lee and Mukti Jain Campion for Culture Wise.
With musicologist Dr Jonathan Walker

Chinese decorative arts are revered in the West. From Willow pattern dinner plates to the Brighton Pavilion, their designs are regarded as beautiful and sophisticated. But for the past two centuries European composers and musicians have had no qualms about mercilessly parodying what they thought of as 'Chinese tunes'.

As a girl growing up in Hackney, the opening orientalised-flute strains of the 1970s pop record Kung Fu Fighting by Carl Douglas were enough to send future comedian Anna Chen running for cover.

The same cliches haunt Turning Japanese by The Vapours, Hong Kong Garden by Siouxsie And The Banshees and David Bowie's China Girl. They have all followed a pattern set by Claude Debussy, Malcolm Arnold, Albert Ketelbey and Lancashire Linnet George Formby, who were equally guilty of taking Chinese musical motifs and mangling them - or simply making them up!

How did this mocking abuse of a handful of venerable Far Eastern notes begin?

Musicologist Dr Jonathan Walker accompanies Anna on a historical mission, picking out examples on the piano and explaining why and how our western ears hear certain note configurations as "oriental" - from Chopsticks to Chopin.

They explore the pentatonic scale that chartacterises so much Chinese music, delve into the story of the Opium Wars which triggered a deep British disrespect of Chinese musical culture and unveil the earliest dubious examples of Chinoiserie in Western Music.

And we hear from a new generation of British born Chinese musicians who are putting right the discordant wrongs of the past 200 years.

Chopsticks At Dawn
Producer: Chris Eldon Lee
A Culture Wise production for BBC Radio 4.

Wednesday, 9 July 2014

Photo of me with my band years ago: The Snow Leopards


Just found this archive curiosity from years back, way before Apple OSX was twinkle in Steve Jobs's eye. A pic of me with my band, The Snow Leopards.

Tuesday, 22 April 2014

Women of the Blues on today's final Madam Miaow's Culture Lounge, Resonance 104.4FM, 5pm



Today live at 5pm on Madam Miaow's Culture Lounge, Resonance 104.4FM, Charles Shaar Murray concludes his Guide to the Blues with Part 3, The Women of the Blues.

Presented by Anna Chen with Charles Shaar Murray.
Guest: Sarah Gillespie.


Today's final Madam Miaow's Culture Lounge of the series wraps with Charles Shaar Murray's Guide to the Blues Part 3: The Women of the Blues.

Singer, songwriter and fine artist Sarah Gillespie joins Anna Chen and Charles Shaar Murray to look at the history of the Blues, its dominance by women in the early years, and the current resurgence of female artists. From Jim Crow laws, the cotton fields and abject poverty in the former Confederate Southern states to the promise of the big cities, these women not only rose to the top of a major western musical genre, they helped create it.

Featuring tracks by Bessie Smith, Billie Holiday, Clara Smith, Big Mama Thornton, Etta James and more.

Listen live (click on the Resonance FM widget in the sidebar) or afterwards online.

Full set of Madam Miaow on Resonance FM.

Resonance 104.4FM

Saturday, 12 April 2014

British East Asian Artists and Diaspora music take the diversity debate into Parliament


Black, Asian and Minority Ethnic (BAME) artists demand representation that reflects British Society 

Last February, the British East Asian Artists wrote an open letter to broadcasters and culture minister Ed Vaizey about the pitiful almost non-existent representation of east Asians in the media despite being the third largest minority in Britain. Vaizey, who had been holding round-table discussions with black actors, including Lenny Henry about continued exclusion, immediately wrote back inviting us to participate in future round-table discussions.

British East Asian actor Daniel York followed up with a powerful piece on the racial pecking order and structural inequality in British theatre and television in which he quotes American sociologist David T Wellman numbering the "culturally sanctioned strategies for defending social advantage based on race”.

In every political and cultural sphere in Britain, Black, Asian and Mixed Ethnic (BAME) people are excluded (see my last post with an illustration of this dynamic in action).

Yesterday, I went to the well-attended Diaspora Equality in Music round-table discussion chaired by Rt Honourable David Lammy MP for Tottenham at the House of Commons.

Sixty or so people (mostly from the Black community) listened to Diaspora founder, Rose Nunu, lay out her objective of trying to ensure that BAME is at the heart of the music industry. "The Diversity landscape is not diverse," she said, requesting recommendations to change the landscape.

One startling figure she gave was that, while the UK music industry employs more than 100,000 people and generates £3.8 billion a year, 95.7 per cent of its workforce is white. At the current rate of loss, its questionable whether there will be any BAME representation in the music industry by 2020. The music industry is more fragmented now than at any time in the past 10 years.

Various lines of action were explored with a strong vocal presence from the business end aiming at increasing the workforce.

Beverley Mason FRSA said there had been a decrease in BAME representation since 2011. (This reminded me of Caitlin Moran telling an audience that the majority of pop artists are now privately educated, nudging out the working classes from one of their few conduits of social mobility.)

However, Mason reeled off a list of figures showing how diversity was a reality factor in the cold light of economics: as the market place becomes more global and competitive, companies actually benefit from being inclusive, She said, "Diversity has to be embedded in the culture. It is a mindset, not an add-on to the budget like tea and biscuits."

The advantages include fresh sources of creativity and problem solving from new perspectives. Varied cultural background and life experience reward companies and organisations that embrace change. It takes good leadership to implement diversity and inclusivity but, as I've witnessed on the political left and in the arts, the white privately educated establishment have a vested interest in keeping out those BAME sources.

David Lammy said, "We get fantastic music because different music from across continents come together." Hybrids are always healthier than a mono-culture for all concerned. Despite Lammy having previously been Minister for Culture, "No-one from the BBC's phoned me up asking me to be on the board. I'm available."

When one speaker told of her tribulations getting one night of the Proms devoted to gospel for the first time but which was then dropped as a regular event, Lammy expressed the room's disappointment. "One night in a whole Prom season? This is unlike the US experience where the 40 per cent BAME presence is a permanent fixture. What would it be like if there was 10 years of that inclusion, and not just one?"

BAME makes up 40 per cent of London's population. Politics, the music industry and the arts trail behind even the Metropolitan Police in terms of numbers. In the legal profession, BAME representation stands at over 10 per cent. It is an alarming set of figures that needs to be addressed.

It was pointed out to cheers, that the music is diverse but the money and power behind it isn't. A speaker from the floor said, "The music industry is in the toilet," and urged musicians, "Don't work for a record company. Get seed-funding, set up your own companies, start an industry."

This was a fine as far as it went but I was soon getting the impression of small outfits scrambling around and manoeuvering on the Titanic while the ship goes down.

So it was interesting to hear another perspective from a speaker arguing that they needed support for those who already exist.

"We have a culture of diversity. We are scrapping for different corners while young people are dying. It's a culture and community that won't support itself. There hasn't been action at a movement level since Soul to Soul. We need to bridge the gap between commerce and community. There are larger and deeper issues, and those with power should be held to account until we see tangible results."

It remains to be seen whether music can be transformed into a channel of social change for the good. Will the corner of the industry as discussed here be challenging the power that relegates BAME to a resented add-on, or joining it in an unholy scrum for the advantage of individuals? Are we, as has happened in left politics, building a new establishment within the establishment? The debate is well under way.

Saturday, 1 March 2014

Charles Shaar Murray's Guide to the Blues Pt 1 on Madam Miaow's Culture Lounge, Resonance FM



I'm back with a bang! To be precise, a new eight-week radio series of Madam Miaow's Culture Lounge on Resonance 104.4FM on Tuesdays 5-6pm starting this week, 4th March.

To kick off, Charles Shaar Murray gives us his Guide to the Blues, Parts 1 and 2, Ancient and Modern: the 1920s to the early 1960s when the Blues was almost entirely African-American, and the mid-1960s to the present when the white kids got it and joined in (Part 2 follows on Tuesday 11th March).

In brief, pre- and post- Stones.

With guest Stephen Dale Petit. There will be a listen-again opportunity to hear it after broadcast on Soundcloud which I'll post here.

The new radio series of Madam Miaow's Culture Lounge kicks off on Resonance 104.4FM with CHARLES SHAAR MURRAY'S Guide to the Blues tomorrow (Tuesday) 5-6pm. Listen to previous programmes on Soundcloud. Or LISTEN LIVE here.

Friday, 28 February 2014

Shots From the Hip by Charles Shaar Murray now an e-book

Shots From the hip, Charles Shaar Murray, Aaaargh Press, ebook, kindle

At last, the new long-overdue edition of Charles Shaar Murray's coruscating collection of journalism — Shots From the Hip (I told him his next one should be called Shots From the Hip Replacement) — first published in 1991, with a new introduction by Joel Nathan Rosen and a new afterword by CSM himself.

It puts together Murray’s writing on music and much, much more from the 1970s and 1980s in New Musical Express and elsewhere, edited and introduced by Neil Spencer. It shows just why Murray acquired the reputation of being the most intelligent and acerbic popular music critic of his generation.

His witty and beautifully crafted pieces – a mix of reviews, interviews and extended critical essays – are as readable today as when they were first written. He was always ahead of the game, noticing up-and-coming artists (and recording sad declines of the once-great) before anyone else. And, almost without exception, his judgments stand the test of time remarkably well.

Shots From the Hip is a classic of its genre, essential reading for anyone with an interest in popular culture, funny, perceptive and energetic.

WHAT THEY SAY

‘One of the best British writers on pop music, and this is a compilation of HIS best.’
SIMON NAPIER-BELL, GUARDIAN

The reason I write is Charles Shaar Murray - collected NME works available again. The R Newman, P Smith & Macca truly great.
DANNY BAKER

‘Charles Shaar Murray was always the best read’
TONY VISCONTI

‘The New Musical Express was one of the big things in my life … there was outrageous writing by Charles Shaar Murray, Nick Kent and, later, Julie Burchill — what they were writing was unbelievable! The NME was so important for lonely suburban kids. It was a lifeline.’
DANNY BOYLE

‘This is an extremely intelligent man who happens to find expression and pleasure in a genre that many comparable intellects dismiss as worthless. For those whose love of rock music has survived their apprehension of its partial absurdity, this book is there to be savoured, to be read slowly and with a great deal of relevant musical accompaniment.’
THE TIMES

‘Murray’s work is particularly impressive because it was written at the time. Murray ragged on Blondie and the Clash, for example, before anyone had heard of them.’
MICHIGAN DAILY

‘“Some people are born dull,” starts a piece on George Harrison and his 1974 ballad Ding Dong, which the author calls a “hideous piece of garf”. Madonna is “Our lady of hard work”, whose 1990 Blonde Ambition tour was a “Broadway musical in all essentials except for its lack of plot”. This irreverent and colloquial collection of British pop-music criticism spans 20 years and tosses in hundreds of musicians, insights and insults.’
ST PETERSBURG TIMES (FLORIDA)

Published by Aaaargh! Press.

Charles Shaar Murray starts a summer course of his Hothouse Project "Journalism as Craft And Art" writing masterclasses in West Hampstead — eight Thursday evenings from 29th May. 

Thursday, 28 November 2013

John Sinclair performs Twenty One Days in Jail



Following the awesome appearance of 1960s icon, poet and political jailbird John Sinclair on Madam Miaow's Culture Lounge at Resonance FM on Tuesday, I'm posting the video I took of John when he played at Café Oto a few years back.

He performs Twenty One Days In Jail, accompanied by Gary Lammin on guitar, Martin Stacey on bass, Jim Jones on piano, and Paul Ronnie on harmonica.

Listen to John Sinclair on Breaking a Butterfly on a Wheel: Modern Heroes, programme 7 in Anna Chen's Resonance 104.4FM series, Madam Miaow's Culture Lounge. With Oliver Shykles of Queer Friends of Chelsea Manning and Charles Shaar Murray.

Wednesday, 13 November 2013

Lily Allen's Hard Out Here video: the lady doth protest. Or does she?



Is Lily Allen having her cake and eating it with her video, Hard Out Here? The lyrics are sort of subversive but the women in the video are still having to shake their booty for a payday.

The lady of the manor doesn't have to twerk (for a living) to make her point but the hired help do. And she gets to say bitch. A lot.

Charles Shaar Murray says, "What would have been really subversive is if the women in the video turned out to be guys in drag."

Lily Allen and misogyny in the Independent.

Suzanne Moore points out the race dimension in the Guardian.

Tuesday, 3 September 2013

Madam Miaow's Culture Lounge returns to the St Ives Arts Festival 2013


Madam Miaow's Culture Lounge returns to the St Ives Arts Festival following last year's The Steampunk Opium Wars extravaganza that had a cast of thousands and played to a capacity audience of dozens.

This year, I'll read the first chapters of my novelisation of the The Steampunk Opium Wars: The Camellia and the Poppy which I'm having great fun writing. I'm also reading poetry from my "brilliant and dangerous" book, Reaching for my Gnu, published in Kindle and paperback.

I'm joined by the super-talented Charles Shaar Murray and Marc Jefferies, who'll be providing musical accompaniment and, in the case of CSM, reading his work as well.

In case you can have too much of a good thing, the adorable Bob Devereux, very funny Rob Barratt and the divine Steve Jones will be delighting our lovely audience with their spoken and sung words and music.

Should you find yourself in St Ives with time on your hands and a taste for a bit of kulcher among friends, then come and join us for the evening. Tickets should be avaiable on the door if they haven't sold out (this is the festival and that does happen). Advance tickets from The St Ives Visitor Centre, The Guildhall, Street An Pol, St Ives, Cornwall TR26 2DS

7.30pm Saturday 14 September 2013
St Ives Arts Club

Westcotts Quay
St Ives,
Cornwall TR26 2DY
£8.50 Tickets from The St Ives Visitor Centre: 0905 252 2250 or on the door if there are any left.
BYO drink

Look out for us at the Café Art where Charles Shaar Murray and I will be reading one early evening, exact date to be confirmed.
The Drill Hall,
Chapel Street,
St Ives TR26 2LR

We'll also be reading and playing at Bob Devereux's lunchtime Poetry in the Square sessions in Norway Square.


Friday, 24 May 2013

Crosstown Lightnin' "Werewolves of London" at the Black Velvet



A culture-rammed week began with Crosstown Lightnin' at the Black Velvet club in West Kensington last Saturday 18th May, supporting Bex Marshall and her band.

Here's Crosstown Lightnin's encore with special guest Stephen Dale Petit. Charles Shaar Murray, Buffalo Bill Smith, Marc Jefferies and Pete Miles play "Werewolves of London" by Warren Zevon.

Video by Anna Chen.

Monday, 20 May 2013

Crosstown Lightnin' and Bex Marshall at Black Velvet: pix






Crosstown Lightnin' played their first gig in a while, the first of many more the way things are looking.

Charles Shaar Murray, Buffalo Bll Smith, Marc Jefferies and Pete Miles were tight as a gnat's bum and rocked the swanky new W14 venue, Black Velvet, with their punky blues.

Bex Marshall headlined with her 4-piece blues band. She has an amazing textured voice — from gravelly and snarling to sweet and melodic, and she wields a mean resonator. It's an awesome full-blooded BIG sound from a home-grown Brit.

Special mention to her backing singer who gave a soaring gospelled up acapella "New York, New York".

Some pix here. Videos of Crosstown Lightnin' to come.




VIDEO: Bird Call Blues

Monday, 6 May 2013

Punk thrives in China: was I first British Chinese punk?


Love this piece about the punk movement in China.

I think I was the first home-grown Chinese punk in Britain, hanging out at Vivienne Westwood's shop Sex as a kiddie where she made me my first catsuit (pix above and below).

It was my armour, a shiny carapace that expressed my champion alienation as a working class Chinese kid in Hackney with added teenage angst. I wore that catsuit to shreds, shocking the locals as I did the weekly shop in Tescos.

The only other east Asian women punks I can remember from that era were Thai-born Suzie Dixon (with whom I hung out with the Boomtown Rats and the Sex Pistols) and, a bit later, Annabella Lwin (Anglo-Burmese) who Malcolm McLaren made lead singer of Bow Wow Wow in 1980.

I'd be really interested to know who else was around. I'm guessing that there must have been some Chinese punks in America following the New York Dolls in the 1970s. But in the punk genealogical branch that started in Vivienne's King's Road shop, I think I'm the first. So if you know of any others, please do let me know.

I auditioned to be a backing singer for the legendary punk band London SS — Mick Jones, Eunan Brady and then Tony James and a plethora of punk musicians — which became the Clash. London SS never got off the ground (stupid name that we'd hoped was short for London Social Security but probably wasn't) so we'll never know if the auditions were a brilliant way for the fellas to meet gurls in those early days before stardom struck. But it was a fascinating showcase and playground for the punk explosion that followed.


Pix of Anna by Bob Carlos Clarke

Saturday, 23 March 2013

David Bowie Is V&A launch party review: music event of the year


The vast lobby of the Victoria and Albert Museum had been turned into the sort of joint where beautiful young men and women press cocktails and bubbly onto you as soon as you walk in. Mini canapés appeared transported on futuristic illuminated platters like something out of the Korova Milk Bar in Clockwork Orange.

Yes, here we were at the David Bowie Is launch party, surely the music event of 2013.

We sipped Green Genies: vodka martinis with lychee juice and absinthe. The orange cocktail was the BEST! Passion fruit juice, vodka and ginger ale over crushed ice and sipped through a straw. I had four of those (see how pink I am in the photo?), came back home and caught Tescos open. Tried to buy the ingredients (I was pissed and not thinking straight, only I WANT) but was vetoed by CSM who bought me Irish Cream faux Baileys instead. Not the same. But I got to use my new Bowie tote bag. Which is orange.

The exhibition is huge and begins with oranges. (I'm spotting a colour theme.) I can't possibly do it justice in 400 words but every corner yields something fascinating: the handwritten cost for a recording studio session (£149); videos; drawings; costumes galore.

It opens today. You have until August 11th to catch it when it begins a world tour. Some 47,000 advance tickets have been sold so hurry up and book.

Anna Chen and Charles Shaar Murray at the Bowie launch party

So here's my review for the today's Morning Star.

David Bowie Is
V & A 23 March - 11 August 2013
Review by Anna Chen — Morning Star

Nearly a decade with nary a squeak from the house-husband, and suddenly this embarrassment of riches arrives, hot on the heels of his new and most excellent album, The Next Day.

Here I am praying at the altar of David Bowie, the eagerly awaited launch of his very own exhibition at the V & A museum. My heart throbs, my eyes goggle. I'm falling in love all over again.

Wednesday's launch party carried a fitting sense of occasion like the rock events of old. I say a quick hi to Noel Gallagher, ogle Bowie lookalike Tilda Swinton, listen to Tracy Emin's speech about swigging sherry to early Bowie, and hear Gary Kemp plan a film about Bowie's much-loved sidekick, the late Mick Ronson.

One glance at the heaving crowd and I realise that there's a new measure of wealth and taste. Forget tight buns: the mark of today's pampered elite is a tight face.

On entry, I am immediately transported back to my childhood as a serious Bowie kiddie, camping out all night to secure front-row tickets at the Hammersmith Odeon and Kilburn State Gaumont, and glimpsed in the DA Pennebaker Ziggy Stardust movie.

The radio-headset is a vital part of the experience, surrounding you with super-duper 3D audio as you walk around. I wasn't sure what the Carl Andre floor tiles were doing in the first bit but it sets the scene for Bowie as Serious Artist, a status the rest of the exhibition confirms.

This extensive selection from the Bowie archive has everything a fan could wish for, barring the presence of the great man himself. From his earliest artistic influences (Warhol, Burroughs), his first appearance in the public eye as spokesperson for The Society for the Prevention of Cruelty to Long Haired Men, the space race (Space Oddity, Starman): welcome to Bowie World.

The scraps of paper on which Bowie scribbled lyrics and notes demonstrate that this wasn't someone merely churning out product: this was someone in the seat with the clearest view of worlds of imaginative possibility.

Many of the costumes on show seem strangely drab and unmagical without Bowie filling them out, but the wing-legged Kansai Yamamoto outfit shines (literally), as does the bizarre black and white one-piece (influence Sonia Delauney) beside a screen depicting it in action for Bowie's stunning 1979 performance of The Man Who Sold the World on Saturday Night Live.

By the time we reach the final hall where thirty-foot-high Davids and Micks sing to us, I remember why I fell for him the first time round. I'm ready to do the whole thing again.


Monday, 18 March 2013

Lost in London with Flying Lizards' Deborah Evans-Stickland


Spent an enjoyable Sunday with my mate Deborah Evans-Stickland — she of the Flying Lizards and the definitive version of "Money" (1979, written by Berry Gordy in the 1960s) that you hear played every time there's an item on ... er ... money. Given that we're in the pits of a recession that's fast turning into a depression and financial meltdown at least for us poor stiffs at the bottom of the heap, that's a lot.

I was too spaced out from a week of bronchitis and pain to get behind a steering wheel so she picked me up in NW6 to go to Blackheath in South East London where TV cameraman Jeff Willis was going to video us with his home kit for a laugh. On a map of London — North West to South East — that's top left diagonally to bottom right.

Deborah arrived late with Mab the (possibly pregnant) husky because she'd neglected to bring a satnav and took a weird route. She'd stopped to ask directions and been given the "You don't want to start from here" answer which quite delighted me.

So we set off late and in the rain. It's amazing how much traffic turns out when it's raining, even on a slow Sunday like today.

"How do we get to the South Bank?" she asked me.

"Oh, down Abbey Road, cut though Camden and head for Waterloo Bridge." (Down and our left.)

This will mean nothing to those unfamiliar with our fair capital city but we ended up going down Abbey Road, west to Notting Hill, down through Hyde Park, and through Victoria. Instead of turning left for Westminster, we carried on south to Vauxhall Bridge, along the north embankment past Tate Britain, Millbank, Parliament Square and across the bridge to south of the river and no-man's land. To me. Elephant & Castle, Peckham, Deptford, Blackheath ... Instead of a nice straight line from top left to bottom right, we'd done a wide letter "d" and were now adding more letters of the alphabet.

A short detour for sushi, sarnis and a bean salad from an M&S refreshed us for the next leg of the journey and we were off again.

So a very very VERY late arrival.

In front of the camera, I asked: "So, Deborah, the iconic track 'Money' gets played a lot. Every time we hear it, does your bank balance go 'kerching' or does a kitten die?" Disappointingly, it doesn't go "kerching" but she did make one of the iconic records of the punk era, so who's counting?

We did good interview, everyone got fish and I directed us home — a straight line this time. But the unexpected deviations can't half be good fun when you're with a mate.

Video to come.

Wednesday, 13 March 2013

MEDEA at ENO review: misogyny, "Other" & "a devilish disturbance in the cosmic balance"



My review in the Morning Star. The dusky woman outcast mistrusted for her talents is an old, old story that's still around today. 

Medea
Coliseum, London WC2
Tuesday 12 March 2013 by Anna Chen
An ENO version of Medea ignores its subversive possibilities as a vision of imperial plunder and betrayal

It's curious how many operas feature women who are outcasts in some way.

Carmen, Turandot, Violetta in La Traviata and Cho Cho San in Madam Butterfly transgress social norms and have to be punished for it.

ENO presents the first British production of Marc-Antoine Charpentier's 17th-century French baroque opera Medea, which has perhaps the ballsiest tragic outcast heroine of them all, bringing intellect and magical powers to the mix.

The action opens in the sanctuary of Corinth after Medea (mezzo-soprano Sarah Connelly), princess of Colchis, has helped Jason (Jeffrey Francis) steal the golden fleece in order to restore him to his rightful place as king of Iolcos. She has betrayed her father, killed her own brother and escaped with Jason, bearing him two sons.

Having thus burnt her bridges spectacularly, she is in turn betrayed by the ambitious Jason who falls for Creusa, daughter of King Creon of Corinth.

Thomas Corneille's libretto echoes Euripides's play of the Jason myth, which painted Medea as an archetypal woman scorned, her white-hot fury destroying not only her love rival but also her own sons in order to punish an errant husband.

Its misogynistic message - that powerful women are a devilish disturbance in the cosmic balance - demands questioning.

Coming from the edge of the ancient Hellenic world in what is now modern Georgia, where Asia and "barbarism" begin, Medea would have been a dark-skinned "other" compared to the fair Corinthians.

Mistrusted for the very powers that fulfil Jason's ambitions and then, as a shamed, humiliated and displaced queen with nowhere to go, her sons would have been no better than slaves. Was killing them an act of mad revenge or one of mercy when all was lost?

The only hint of the latter is in the line buried in Euripides: "If I hesitate now someone else will murder them more cruelly." Medea's dilemma is fascinating and beyond any mere domestic upset.

It is therefore a pity that ENO's production ignores those dramatic possibilities, sticking to the cliche of wrathful harpy aided by the demons of jealousy and vengeance.

Having timidly distilled conflict into blonde versus brunette, the designers stick Medea in a dowdy knee-length skirt suit with white tights that undermine her transformation into a supernatural force. This is a queen of somewhere very dark, not a bank manager.

Played by awesome house-shaking bass Brindley Sharratt, Creon's fascist impulses ("We must silence all discontent") are linked to his depraved incestuous desire for Creusa.

But, although the setting is updated to World War II, by failing to subvert the traditional reading of Medea's motivations, this production misses the chance to do something exciting and different with a murderous tale of imperialist conquest, theft and betrayal.

Runs until March 16. Box office: (0207) 845-9300.

Here's a modern take that could be titled: MEDIA



Monday, 28 January 2013

Wilko Johnson he say yes to Reaching for my Gnu



I was, am and will continue to be thrilled by this encouragement from meister songwriter Wilko Johnson for my poetry. Here he is saying nice things about Reaching for my Gnu at his house last week.

So looking forward to his gigs in March — a farewell tour to beat all farewell tours. Bless you, Wilko. x

Saturday, 26 January 2013

An afternoon with Wilko Johnson: Charles Shaar Murray interviews his mate


Spent Tuesday afternoon with one of the two most beautiful men in rock 'n' roll, the other one being David Bowie. Three if you include the lovely Charles Shaar Murray who I drove through the snow to Wilko Johnson's house in Southend. We found him in awesome mood for a man who's just announced he has terminal cancer that will end his life before the year is out. It's the pancreatic one, the one that got Bill Hicks at the ridiculously early age of 32.

Charles was interviewing his old friend for Classic Rock magazine and, yet again, was let down by his HD Zoom (bring back tape). Luckily, I had my Lumix camera on me so I was able to video them chatting in the living room: mugs of Jamieson coffee and chessboard on the coffee table, walls lined with books and pictures including two Matissesque ones painted by our Renaissance man when he was weighing up whether to become an artist in a garret or a music hero with money, adoration, women and a gold Cadillac.

"I'm euphoric," he told CSM. Knowing where his exit lies has liberated him from his usual grumpiness and a tendency towards depression, putting life gloriously into perspective. He's looking forward to his gigs, the farewell tour of which there will be no repeats like the ones the Stones seem to specialise in. It all seems so bloody unfair, just as the Dr Feelgood guitar supremo and songwriter was finding new audiences and an acting career as Ilyn Payne in Game of Thrones following Julian Temple's Oil City Confidential movie about the band. This is the real deal, the last we'll get to see of him and I can feel myself welling up.

Wilko, though, is the happiest person in the room, floating on his cloud of bliss. I found him bouncy, tigger-like and charming. He even told me he'd loved reading Reaching for my Gnu, my poetry book that I'd sent him for Christmas: "Fuckin' brilliant. I couldn't put it down." Squee!

He's been giving a series of interviews and there's a lovely one he did for BBC Radio 4's Front Row that you can listen to on iPlayer.

The universe requires balance so every sublime expresson of the best of humanity has its dark side. Scummy scalpers have moved in on Wilko's farewell dates. He'd kept the price of the Camden Koko's tickets to £17.50 to give his fans the chance for one last party with him but one friend reports that five minutes after they went on sale, they were sold out. Same the next day when an extra date was added. We know that tickets are being sold on eBay and elsewhere for £165 each. Not that Wilko believes in an afterlife, but I know where these creeps will be going.

Wilko departs this world knowing he's loved, his life's account balanced and with his big soul intact. But not for months. OK. Let's party.

Thursday, 26 April 2012

On the Mississippi Blues Trail: Madam Miaow in America

Duck stars at the Peabody Hotel, Memphis

This article first appeared in Gap Year Magazine

The Mississippi Blues trail

It was the ducks that did it. Even they had their own musical accompaniment: the King Cotton March by John Phillip Sousa, as it happens.

Any trip worth remembering will have its own soundtrack that stays with the traveller long after the souvenirs have gathered dust: whether it be the favourite tracks you load onto your MP3 player or, if you seek escape from your private tourist bubble, the local music you stumble across as you pass through exciting new landscapes.

There are few sounds more powerful than the music associated with the American blues trail, carrying with it the history of an entire people from tragic beginnings in slavery to the creation of a major art form that’s sired jazz and rock and roll in all its forms … except maybe for ABBA.

From what’s left of sleepy sensual New Orleans in the Mississippi Delta in the south after Hurricane Katrina and the developers got through with it, to the speedy urban setting of Chicago on the banks of Lake Michigan 930 miles away in the north, the Blues Highway is one of the culturally richest journeys you can make. The cast in this story features African American music legends John Lee Hooker, Muddy Waters, Howlin’ Wolf, BB King, Buddy Guy, Bessie Smith, Billie Holliday, Sam Cooke, Charley Patton , Willie Dixon, and not forgetting Elvis Presley, Jerry Lee Lewis and a whole bluesmobile-full of others.

I did this by car, taking in all the main centres along Highway 61 in little over a week. A leisurely fortnight would have been ideal and if you can manage longer, well, lucky you.

* * *

The invention of the cotton gin in the late 18th century rejuvenated the use of slavery in the massively profitable cotton growing areas of the Deep South including the Mississippi River Delta. When the Civil War brought an end to slavery, it was replaced by sharecropper poverty and vicious Jim Crow laws as the chief source of misery.

A generation of young African American men left the plantations for work in the cities. The easiest escape was jumping the train north to St Louis and Chicago.

The blues had grown out of field hollers and spirituals. Musical instruments were improvised out of any materials that were to hand. Thus the diddley bow was born out of a piece of wire strung between two nails hammered into the porch. Guitars and harmonicas could be bought cheaply from catalogues and stores.

The luckier among them could get work in the Chicago heavy industries, and because their instruments were portable, the talented ones could make a living or at least feed their souls with their music.

When you take the Mississippi blues trail, you are following in the footsteps of these refugees and early pioneers of jazz and rock. So load up your MP3 player with blues goodies and get ready to roll.


Memphis.

Situated on the banks of the Mississippi River at the crossroads between Tennessee, Louisiana and Arkansas, Memphis is the centre of the American heartland that gave birth to the blues. Mark Twain’s Huckleberry Finn and Jim, the runaway slave, would have sailed past on their raft on their way to freedom.

There’s an observation you’ll see emblazoned everywhere except in sky writing so I’ll introduce you to it here: the Mississippi Delta "begins in the lobby of the Peabody Hotel (in Memphis) and ends on Catfish Row in Vicksburg". They may as well have a T-shirt printed with it. They probably do already.

Stepping into the Peabody Hotel on Union Street conjures up Tennessee Williams, mint juleps and a hundred variants of barbecue sauce that have me drooling even as I write. This homage to the original Peabody, which closed in 1923, was built two years later in the style of the Italian Renaissance, with all the grandeur of the deep south but with ethnic minorities. Suffering more tragic declines than Blanche DuBois, its faded fortunes were revived in 1981.

If you can’t afford to stay here, you can still enjoy the bar which did brisk under-the-counter business during prohibition, but it won’t be the plush surrounds or the travertine marble fountain that amaze you. Time it right and you’ll witness a sight that has had tourists crowding the lobby since the 1930s with not one call for BBQ sauce.


Every morning at 11am, the poultry wrangler known as the “Duckmaster” escorts one mallard drake and four hens from their penthouse Duck Palace (cost $200,000) on the Plantation Roof, into the elevator and down into the lobby where they waddle in line to the fountain to frolic for the rest of the day until bedtime at five o’clock when it all happens in reverse. Reader, I have watched movie star Nic Cage on the balcony watching the duck parade below, as spellbound as any other out-of-town visitor. That’s how weird and wonderful it is.

If this is making you hungry, you’re in the right place. Southern soul food is another one of the delights of this region. Several blues maestros own music venues serving the local fare. If you head for BB’s (owned by B B King) on Beale Street, a famous centre of African-American music, you’ll get great food and music in the same hit. Forget burgers. We ate cornbread, Jack Daniels-marinaded steak, gumbo and a rack of ribs smothered in sticky BBQ sauce until we were stuffed silly. All washed down with the weak brew which the locals joke gets its flavour from the Mississippi water it’s made from.

If that doesn’t satisfy you, you can try the Elvis Presley restaurant that replicates the menus that ultimately killed the King. Speciality: a loaf halved lengthways and fried in butter, filled with bacon fried in butter with peanut butter, jello (jam), mashed banana and probably a knob of butter. Add a carton of clotted cream and this would be my idea of heaven even if my heartburn would be hell.

Elvis was a local lad made good after he ventured into Sun Studios, round the corner from Beale Street, and caught the ear of owner and producer Sam Phillips. For twelve bucks you can take the studio tour and see where the legends of Carl Perkins, Roy Orbison and Johnny Cash were created. I have a snap of me singing into the very same Epiphone microphone (or one just like it) that Elvis would have used.





Charles Shaar Murray at Sun Studio, Memphis

If you have time, get over to Graceland, Elvis’s famous mansion home. It’s a lot smaller than you imagine. Who knew you could spend half a million dollars in Woolworths?

A sadder story is the one of the other King at the Lorraine Motel in Downtown Memphis. It’s here that Dr Martin Luther King was shot dead on the balcony outside his room by racist loonies eager to keep black people in their place. There’s some controversy attached to the building as it was home for the wretched poor when the decision was made to turn it into a state-of-the-art museum. While the shell has been preserved and King’s room encased in glass, the area behind has been completely rebuilt and the residents evicted. The exhibits include a bus like the one where Rosa Parks, an African American woman, refused to give up her seat for an able-bodied white man, kicking off the Montgomery Bus Boycott and galvanising the Civil Rights movement of which King became a leader. Worth seeing but you may first want to speak to Jacqueline Smith, the last of the motel residents to be evicted and who has mounted a lonely protest outside for twenty years.


If you are a music fiend, you could make a detour to Nashville, home of the po' white folk equivalent of the blues: Country and Western. Otherwise, head south towards New Orleans on the coast of the Gulf of Mexico.

Clarksdale

After 60 miles, where Highway 61 meets Highway 49 just outside Clarksdale, there’s a junction steeped in myth — the biggest one in the whole mythography of music. It’s where the young musician Robert Johnson sold his soul to the devil in order to gain his supernatural guitar skills. It gained him fame, glory and sex for a few years before the devil called in his marker and Johnson was poisoned by the jealous boyfriend of a woman he was seeing. The Crossroads of legend turns out to be several places in the real world as there are different intersections all telling you you’re crossing 49. We were stymied. It’s not like you can trust the gigantic crossed guitars at one of them — even if X does mark the spot — as this was smart advertising for a local business. My advice: pick a place and meditate. It was all invented so you might as well join in. As long as you locate the crossroads deep in your soul …

Squealing like a porker that’s caught a whiff of BBQ sauce, I nearly crashed the car when I spotted the Riverside Inn (now Hotel) just outside town. For this is where singer Bessie Smith breathed her last with her magnificent lungs when it was formerly a hospital for black people in the bad old days of legalised racism.

Smith should rightly be referred to as “legend” rather than mere singer, but we are now in an area renowned for its legends. Throw a rock and you will hit a spot that had something to do with one, whether it be Ike Turner, Sonny Boy Williamson II, Duke Ellington or Robert Nighthawk who all stayed at the Riverside. There must be ley-lines or a spooky alignment of the planets or maybe they put whisky in the water. Whatever it is, I want some.

Clarksdale is a small town — maybe one and a half horse’s worth. But what a history. I stood staring at the tiny single-platform station where mile-long cargo trains trundle past on the Illinois Central Railroad, very slowly but never stopping, with the ghosts of desperate young men showing me how easy it would have been to hop a train north.

Across from the station, the Ground Zero Blues Club: perhaps the most famous of the juke joints, part owned by Morgan Freeman. Outside on the sidewalk, one of the kitchen staff sits on an old armchair for a smoke. Inside, it’s a large square room with a small stage at one end with just enough room to swing a Strat, and a bar running down the side. We drink bourbon and eat ribs followed by peach cobbler and feel like we are in hawg heaven.

Clarksdale’s Delta Blues Museum documents the town’s amazing history and is run by volunteer heroes. Star feature is Muddy Waters’ shack from Stovall Farms where he was a sharecropper before finding fame and fortune with his axe. Son House and Charlie Musselwhite were local lads who also have their own sections in the exhibition.

Three miles from Clarksdale, the Shack-Up Inn is one of the most unusual places I’ve ever stayed at. Occupying a slice of the old Hopson Plantation where the early cotton picker was trialled, it’s an unconventional hotel complex made out of real sharecroppers’ shacks, giving cultural historians an authentic glimpse of the environment that produced the blues. Some might call it misery tourism but there are skint creatives out there looking for a quiet place to think and compose: patrons include Morgan Freeman, Samuel L Jackson, Charlie Musselwhite and the late Ike Turner. None of the cabins are luxurious, although they contain the requisite bathrooms, fridges and fans, and many come with keyboards and sound systems. Trying sitting on the porch in the torpid heat of a southern summer evening, drinking a cold beer with Hooker, Howlin’ Wolf or Waters playing in the background. Ah, magic. Apart from the mosquitoes. They’re just maddening.





Anna and CSM in the Cadillac Shack at the Shack-up Inn, Clarksdale

St Louis

Short of time, we miss New Orleans — home of dixieland jazz and all things Creole — and head back north through Memphis to St Louis, best known for ragtime jazz and a major stopover for the black exodus of the 1920s and 30s. The only obvious landmarks are the Gateway Arch on the West bank of the Mississippi, looking like half a monument to McDonalds, and the gorgeous rail terminus. Union Station’s huge vaulted ceiling is more cathedral than railway station, once the biggest in the world, now the luxury hotel that annoyingly gave up our room despite notice that we’d be arriving late.

We spend our evening at BB’s Jazz, Blues And Soups, a smallish joint which stays open until 2am, and serves pleasant food to some cracking live music.

Chicago

Driving to the Windy City of Chicago, the spiritual end of the Blues Highway, we struggle to find any of the great blues stations we’d listened to on the car radio at the start of our journey. The further north you go the angrier and meaner become the jocks and commentators.

The architecture of central Chicago is fabulous: a creamy Gotham of art deco and waterways. We stay in the Essex Hotel on Lake Shore Drive fronting onto Lake Michigan, in the four-mile part of the city destroyed in the Great Fire of 1871. The rebuilding took place during the wealthiest period in America’s history, when skyscraper construction had just been made possible. No wonder it looks amazing. Except for the Essex Hotel which looks like something constructed in Essex; perhaps Ripple Road in Romford. Luckily, we were on the inside looking out.

The best way to see the sights is to take the tram, touring the El railway, the Sears Building, Wrigley Field stadium, the waterfront, Oprah Winfrey’s modern tower block and the fairground underneath.

Take a cab down town to Chess Records to complete the music tour. Willie Dixon, Etta James, Aretha Franklin, John Lee Hooker, Muddy Waters, Bo Diddley; all the blues giants recorded here. So great was their impact that their effect was felt in Britain, inspiring bands like the Beatles and the Rolling Stones.

Just one last music stop: Buddy Guy’s Legends, serving some of the best food I have ever eaten. Jambalaya, gumbo, frogs legs, ribs, catfish, crawfish etouffée … Mmm, excuse my drool. If you’re lucky, you may get to see the man himself perform. If you’re luckier still, Buddy might even be personally cheffing in the kitchen ...

Music and artists associated with the Delta:
Bessie Smith, Memphis Minnie, Junior Parker, Jimmy Reed, Sam Cooke
Sun Records: Sam Phillips (producer), Elvis Presley, Muddy Waters, Jerry Lee Lewis, Howlin' Wolf, Carl Perkins, Johnny Cash, Roy Orbison, Ike Turner
Chess Records: Muddy and Wolf, Sonny Boy Williamson, Buddy Guy, Chuck Berry, Bo Diddley, John Lee Hooker

Shack Up Inn, Clarksdale
Delta Blues Museum
1 Blues Alley - Clarksdale, MS 38614 - 662-627-6820 
Current Hours - Monday thru Saturday - 10:00 AM to 5:00 PM
Sun Studio, Memphis
Buddy Guy’s Legends, Chicago
Chess Records, Chicago

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