A few years old as photos, but nothing like as old as the works themselves. Chartres was a revelation and well worth the trip (even though the labyrinth was covered by restoration work) – would recommend bringing binoculars, especially for the stained glass.
New York has been much celebrated in song. In recent years, these songs have tended towards the unpleasantly grandiose; New York as an arena of near-unlimited personal fulfillment and narcissistic referentiality.
There is a rich seam of song dealing with the seamier, less salubrious side of New York – tapping into a cultural depiction of the city as a circle of hell, part of a wider tradition of depicting urban life as profoundly distressing dating back to Juvenal. In recent years a certain sanitising of New York has taken place, both literally and metaphorically. Having spent the summer of 1999 there it is a city I love, but also find the somewhat fawning tone of much Noo Yawk discourse rather parochial.
The modern template of the New-York-is-amazing-and-so-am-I song is New York New York, or more properly “Theme From ‘New York, New York’. Ironically, the original cinematic deployment of the song, with Liza Minnelli’s vocals, in Martin Scorcese’s movie was as a devastating moment of personal crisis:
In a more recent depiction of New York as a glossy hell, Steve McQueen’s Shame, Carey Mulligan sings the same song to similar effect:
Lou Reed’s album New York is perhaps the ultimate riposte to the grandiose New York song. It is almost parodically intense and focused on New York as a hellhole. The music was straightforward rock – derided by some as “truck driver music”, but the lyrics were tight punches of pure dyspeptic anger:
The Clash’s “The Right Profile” is a tribute to Montgomery Clift, but makes it here for the lyrics evocative of New York sleaze with an appropriately spikey musical counterpoint:
New York, New York, 42nd Street
Hustlers rustle and pimps pimp the beat
Monty Clift is recognized at dawn
He ain’t got no shoes and his clothes are torn
Finally, I am not that averse to the New York is great genre, and Elbow’s “New York Morning” is a more wry and amused take on this genre than most. I particularly love the line “In the Modern Rome/where folks are kind to Yoko”. Lang Lang’s recent album “New York Rhapsody” has a certain amount of Noo Yawk bombast for my taste, but I enjoyed his take on “New York Morning”:
Archived here (and now here). I have observed before that I formerly wrote much more on sport than I do now… or am interested in now. Looking at this piece now, it seems to me an interesting little case study of cultural differences.
During the Confederations Cup, myself and a friend were wandering the Champs Elysees. My friend was clad in a replica Japan top and we attracted the attention of a young Japanese man who turned out to be a football journalist. A brief discussion followed – he was delighted that we recognised Inamoto and Nakata from a team picture, and asked as what we thought of someone/something called “Jiko” It took us a while to realise he meant “Zico.” He was quite knowledgeable about Ireland’s fortunes and asked us to illustrate Brian Kerr’s tactics on a piece of paper as little circles and lines.
The books I’ve reviewed in the past few issues have dealt with football and football culture in traditional powers of the game; Spain, Germany, Brazil. Written before the 2002 World Cup, “Japanese Rules” main theme is the establishment of the J League and the gradual improvement of the national team over the years. As the title suggests, football was not an established element of Japanese culture until a perceived need for it arose.
In Japanese culture, at least in Moffett’s account, hardly any aspect of life isn’t seen as a metaphor for how the Japanese see themselves. Baseball was the established sport in Japan for most of this century, largely because the one-on-one aspect of pitcher vs. slugger reminded the Japanese of one-on-one sword combat, which dominated Japanese culture well into the Nineteenth Century. Japanese baseball culture revolved around the cult of the coach – television coverage would focus on the coach’s reactions and instructions to the players. This was in turn seen as analogous to the hierarchical management structure of traditional Japanese corporations.
Football had a low-level presence in Japan for years – they won Bronze at the 1968 Olympiad coached by German Dettmar Cramer, whose training routines according to Moffett largely consisted of jumping up and down. In the early 1990s Japan’s culture began to change. There was a mood of rebellion against the hierarchical, “baseball style” management, towards a more creative, less hidebound style – football was seen as exemplifying this trend.
Hidetoshi Nakata was seen as emblematic of the “new Japan” – in fact his signings for Perugia and Parma were partly in response to death threats from some of Japan’s tiny but virulent ultranationalist groups, after off-the-record comments made about the national anthem were publicised.
Some of the descriptions of Japanese coaches of the past are astonishingly brutal. Corporal punishment of the most severe kind was not only frequent but encouraged. This was a hangover from baseball training – which from Moffett’s account seems to consist in Japan at any rate largely of the players hurling heavy objects at each other and betraying no reaction when hit.
Zico would find his Japanese team-mates taking down his most incidental word and even referring back to them prior to games. Arsene Wenger was frustrated by the subservience of the Japanese players – players in training games would look to him for baseball-style micromanagement. As late as 2000, in a Second Division J League game, a coach instructed Omiya Ardija to slow the play initially to stop the opposition take an early lead – however once the early lead was conceded the goalkeeper continued to take an eternity to take a kick out, leading to the foreign pros on the team pleading with the ref to give their own goalkeeper a yellow card.
Wenger (recent events notwithstanding) is generally portrayed as an urbane sporting intellectual. Coming to Japan fresh from the Monaco job, Wenger spent most of his time shouting at his Grampus Eight charges – once, when a striker missed a sitter, Wenger yelled at him in English from the touchline “I’ll kill you!” No wonder Martin Keown was so wound up. At first the players naturally hated him, but over time and with the help of Drajan Stojkovic, Grampus Eight became a formidable force. Stojkovic found the Japanese players initially very passive, and worst of all they weren’t upset enough for his taste when they lost.
Dunga, former Brazilian World Cup winner, came to Japan and, like Stojkovic, spent most of his time shouting at his teammates. Dunga dubbed this his “football classroom full of love” and Japanese TV showed his greatest onfield rants to a backing track of slushy romantic music. Initially, Gary Lineker was the J-League’s greatest star. He was polite, affable, made an effort with the language and culture, and was widely expected to be a crucial factor in the conversion of Japan to soccer. Lineker had severe injury problems and his son had leukaemia around the time of his Japanese Odyssey, which was not a success. One paper calculated he made a cool million quid for every goal he scored. Linker’s case illustrated a less endearing Japanese trait also seen in baseball – gaijin (foreign) players brought over on huge contracts would be mocked behind their back if they failed to live up to expectations.
As Moffett writes, in Japan it is generally believed that there is a proper way of doing things. Thus fans were encouraged to study Brazilian, English and Italian fans. In the early days of the J-League the stadiums were full of families and teenage girls whose motivation was to see the hyped spectacle and ogle the new sex symbols. Some of the stories of early J-League fan culture are quite touching – teams were exquisitely polite to each other and to the crowd. As fans “studied” other nations, they decided that this was not the way to go, and began to adopt borderline hooligan behaviour. Reading the book, this doesn’t seem to have been particularly threatening – after all, it was a rather artificial phenomenon. Even now, at international games the Japanese supporters tend to be quiet, only making noise when it’s “proper” to do so, in the stadium
The ridiculous names of J-League Clubs owes much to this notion of a “proper” way of football. The clubs were given foreign names – such as Yokohama Flugels, Kashima Antlers, Grampus Eight – as they were proper “football names.” As the Japanese economy faltered in the later Nineties, and as the initial hype of the J-League moved on, teams began to struggle financially. A merger was mooted between the Flugels and the other Yokohama team. Spontaneously, a fan revolt took place – in fact the whole story is very reminiscent of the Wimbledon MK saga. Football had given communities which largely served as dormitories for work something to focus on. At last an authentic football culture established itself in Japan.
Recently my brother gave me a present of Tristan Gooley‘s The Walker’s Guide to Outdoor Tracks and Signs. I have read various Gooley books over the years, and to some I have given the signal honour of losing or getting ruined by rain. I have also found they are books which work much much better in physical form that as eBooks.
Gooley’s books are deceptively digressive – there is a firm structure within which a vast array of knowledge from eclectic sources are displayed. This leads to learning an awful lot of what, in other hands, could be off-puttingly didactic material in an entertainingly brief time.
As well as this, just-one-more-bit quality, there is a generosity to Gooley’s prose which the following passage exemplifies:
Everybody will have seen treasure hunters on the beach at some point: solitary figures with headphones who march silently up and down the beach swinging their metal detectors. These hunters get an unfair press generally, because most people fail to appreciate that in every activity that seizes a person’s interest there must lie an artistry. The metal-detecting part of treasure hunting is far from the whole process.
Gooley seems very far from the kind of moral one-upmanship which is so prevalent these days, facilitated greatly by social media.
The Walker’s Guide to Outdoor Clues & Signs considers, in turn, various outdoor settings interspersed with narrative pieces that describe a particular walk or experience of Gooley. For instance, the very first section is on “Ground” – getting a sense of how terrain and observable geology can give clues to direction. This is followed by sections on trees, general plants and mosses/algae/fungi/lichens. Then we have “A Walk with Rocks and Wildflowers” which unobtrusively helps synthesise this information.
Gooley is not just focused on what we usually think of when we think of “the outdoors”, but on urban environments too. Here he is astute in observing the ways in which towns and cities are shaped by the same forces of geology, wind, rain and light that apply in rural settings.
Gooley’s work has got me thinking again on bias. Writers such as Daniel Kahneman have greatly popularised the concept of cognitive bias, and the many ways we humans can Get Things Wrong – especially when we Know We Are Right. Time to re-embed this tweet:
— Ross Scrivener (@Scr1v) September 9, 2016
As may be clear from the blog post I linked to above, I have some sense that the hunt for bias has rendered us all too suspicious of our amazing ability to observe the world, and make generalisations from those observations that may not be perfect, but are incredibly useful in navigating the world – literarlly so in Tristan Gooley’s work. Gooley’s books are, as well as everything else, something of a corrective to over-suspicion of human observation.
Recently in France I visited two highly recommended tourist sites (I have no issue describing myself by the word “tourist”).
One, Montmorillon, is described by English language wikipedia (more of which anon) as “a commune in the Vienne department, in the Poitou-Charentes region, in western France.” Indeed it is. The English language wikipedia page does have a few more details. It was where Montmorillonite was discovered (in passing, I wonder how geologists pronounce this mineral with a straight face) It is famous for its macarons and for various educational posters.
It omits, however, Montmorillon’s self description as Citie d’écrit et Les Métiers Du Livre and its wide range of specialist bookshops and shops devoted to, well, les métiers du livre. Of course, this is not all that rare now, with Hay-On-Wye being the most prominent example in these islands of book-focused tourism. Montmorillon was a particularly charming example of the genre, with its steep streets and striking architecture. I didn’t pick up that much; a a French language edition of Ballard short stories with some interesting comments from the man himself) from Les Chants du Maldoror, and a Korean personal organiser sporting the name “Buffoon Schedule” from Utopiarts. My children picked up lovely items from Fantine’s Creations and origami/calligraphy shop Au Coeur Du Papier.
We had limited time to explore unfortunately but I must mention the kindness of the man in motorsport/aviation/all-things-internal-combustion themed bookshop Numero 10 who gave some obviously somewhat heated (in every sense) children free sudukos.
Anyway, the point it also that this extremely charming destination is unheralded on the English language internet, pretty much – we had discovered it via a leaflet in another site. The point was reinforced a few days later driving from Craon towards Cossé-le-Vivien. On the map I spied the Musée Robert Tatin. The reader can of course follow the link to the museum site and also the link to the blog post that immediately follows: but I would advise that if you are anywhere near the area just visit as much of the impact comes from the sheer unexpectedness of the site (for the same reason I am resisting posting photos) The inevitable Google search I performed on seeing the museum on the map revealed nothing much in English except this interesting post on a site devoted to “outsider art environments”
The impact of Musée Robert Tatin partly comes from its unexpectedness.It is something like a sort of Angkor Wat in the Mayenne countryside, in terms of visual impact. It is also a wonderful place to bring children (though the staff did politely warn us to ensure they didn’t touch the fragile artworks) as it has, amongst other things, a playground, a hedge maze, a fountain, a pond, and lots of space to run around in. Part of me wonders how the art work would fare taken out of its context (though that what site-specific means, obviously), and much of Tatin’s painting seemed to be rather Kandinsky-lite to me, but nevertheless it was a fascinating and refreshing detour.
Anyhow the point of all this touristic blather on my part is that neither site was one which those depending on English-language web resources or searches would have encountered (though I guess they may have visited Montmorillon for macarons) In an age when boosterism often tries to persuade us that all the information in the world is easily accessible, and that English is the global language, it is salutary to be reminded that you can still stumble across things (of course, in both these examples I found internet resources – but afterwards, and not [primarily] in English)
A little late for Ireland’s participation in Euro 2016 – here are some examples of McDaid’s legendary drink in its natural habitat. Taken just by the wonderful Happy Camper Cafe which surely has the best views of any campervan based pancake / coffee emporium.