A Gresham Society Visit To Westminster Abbey Library & Muniment Room, Plus The Queen’s Diamond Jubilee Galleries, 12 April 2019

As if I don’t spend enough time hanging around this part of Westminster, I found myself, for the second time in 24 hours, hanging around in Dean’s Yard. But this time I was on a half-holiday, awaiting a tour of the Westminster Abbey Library & Muniment Room, with my friends from The Gresham Society.

The Library Collection is described through this link – click here.

The Muniment Collection is described through this link – click here or the image below, which depicts the Muniment Room and is copied from the linked page for the purposes of linking back to that page.

We were such a large group that we needed to be split in two. I wondered whether to mention Solomon at the point that Tony Trowles, Head of Collections and our principal guide for the afternoon, suggested an even division of the group. But I thought better of that Old Testament reference in the particular setting of the Westminster Abbey Library.

If you want a general background/introduction to Westminster Abbey, btw, you could do a lot worse than the Wikipedia entry – click here.

Anyway, my half of the group went with Matthew Payne to see the Muniment Room first. I think the more conventional way is to see the Library first, perhaps because the Muniment Room is seen to be the highlight.

In reality, I found the whole tour a highlight.

It was fascinating to see the Muniment Room, it’s storage chests some of which are 800 or so years old, it’s extraordinary mural of Richard II’s white hart and it’s stunning views across the Abbey.

But it was also fascinating to have Tony show us the Library and learn all about its transformation from a Benedictine monks’ dormitory into a theological library.

Further, some of the artefacts on show in the library were quite simply breathtaking. An Edward The Confessor writ, for example, which they are almost 100% certain is genuine (there is doubt over some of the oldest relics), made the hairs on the back of my neck stand up.

Public domain image borrowed, as permitted, from Wikipedia, with credit and referencing
https://en.wikipedia.org/wiki/Edward_the_Confessor#/media/File:Edward_the_Confessor_sealed_writ.jpg

After our private tour – even among Gresham friends it seemed extremely cosy in places – the wide-open spaces of the new Queen’s Diamond Jubilee Galleries seemed liberating.

The stroll and climb to the galleries was enjoyable in itself – around Poets’ Corner at ground level and then a charming new staircase with gorgeous views across to the Palace Of Westminster. What a shame to think of the shambles that is the political mayhem going on in that historic place at the moment.

But then the new galleries and the stunning exhibits on show, well set out for ease of navigation and all very well labelled/described.

While Westminster Abbey prohibits photography within its confines unless you buy a licence to do so, it does provide excellent imagery for those beyond its confines, such as these excellent short videos about the new tower and galleries. First up, the climb up the stairs of the tower:

Next up, the galleries themselves, described extremely well by the curator, the Dean and also Tony Trowles, who guided our library tour:

On seeing these wonderful artefacts with my Gresham Society friends, I felt a burst of communal, almost cult-like enthusiasm, that reminded me of our Gresham Society visit to the London Mithraeum last year:

I wondered, briefly, whether the cult of Mithras (see above) or the Cult of Saint Edward The Confessor (yes, really, Westminster Abbey owes a great deal of its character to Henry III’s attachment to that cult) would be the preferred cult for us Gresham Society types.

I took some soundings…some might call it a mini-referendum…which was a very close run thing; 52%-48% approximately. As a heated, perhaps irreconcilable debate broke out amongst this group of hitherto convivial Gresham Society friends, I thought best to take my leave of the group swiftly.

For all I know, the remnants of the Gresham Society might still be debating the relative merits of their preferred cults in The Westminster Arms; at least, that’s where most of the group (or should I now describe it as a brace of warring factions) was last seen at the time of writing.

In truth, it was a thoroughly interesting and enjoyable afternoon out. Once again, thanks to Tim Connell for leading our field trips…also to Basil Bezuidenhout and others for helping to organise them.

A Few Hours Of Cricket Followed By Two Hours Of Tennis, Lord’s, 11 April 2019

I very often take in the whole of the first day of the cricket season at Lord’s, most often with Charles “Charley The Gent Malloy” Bartlett, e.g. last year…

…but this year the date didn’t work for either of us – in my case because I needed to be in Westminster until about 14:30 that day.

I thought that Escamillo Escapillo might be able to join me for a couple of hours later that day, not least because his beloved Lancashire would be at play, but he too was committed elsewhere all day.

But I had arranged to play tennis at Lord’s that evening, so I packed a good book along with my tennis kit and work necessities and headed off to the ground as soon as my work commitments allowed me. I got to Lord’s just before 15:00; with some 45 overs still to play, that would be nearly half a day of cricket before my tennis.

Result…

…by which I mean, a result for me.

Not a result in the match, obviously, which is designed to last four days (he says for the less cricket aware who might have stumbled across this piece in search of enlightenment).

I dropped my tennis things in the dressing room and took to the middle balcony for a while, but I was wicked cold in the shade there and enviously eyed up the sunny spot at the junction of the Grandstand and the Compton Stand, where I had re-read The Price Of Fish last season, as reported on King Cricket:

From that very spot, in the bright, chilly-yet-tolerable sunshine, I was able to take a picture of Jimmy Anderson bowling to Eoin Morgan. Not bad, I thought at the time, for a second division fixture in April.

Jimmy Bowling To Eoin

For the uninitiated, I should point out that the pitch was located on the northern side of the square, so the southern stands (pictured) were unpopulated, whereas there was a fair crowd in the Grandstand and its fellow north-side stands.

When the sun cruelly abandoned my sunny spot, it immediately went from feeling bearably chilly to unbearably chilly, so I relocated back to the pavilion, taking up a seat in the unusually but unsurprisingly crowded Writing Room (north side, behind glass).

There I read a bit and bumped into some friends/acquaintances, not least Phil. I would previously have described Phil as an Australian with whom I occasionally play real tennis, but he turns out to be a Lancashire supporter who was born in Jimmy Anderson’s home town of Burnley. Phil went to Australia as a child and relocated to the UK some years ago. Phil kindly bought me a soft drink and we chatted cricket for the first time – our previous conversations having been diverse but, in the matter of sport, solely real tennis related.

Phil will henceforth become known as “The Burnley Bradman” for Ogblog and King Cricket pseudonym purposes.

After stumps, I needed to warm up a bit – we had taken our soft drinks on the balcony of the Bowlers’ Bar. So I read inside for a while and then did a long stretching session before playing tennis.

I had, perhaps foolishly, consented to play an additional hour after my 19:00 scheduled hour, as one of the 20:00 fellows had pulled out at short notice. Two hours of singles is a bit much at my age, especially as the 20:00 dude turned out to be a 29 year-old who had played to a pretty decent level when at University.

Actually the two hour slot worked out pretty well for me. The first hour was against a relative newbie to whom I had to give an infeasibly large handicap. He is clearly very able, just inexperienced, so it made for a fascinating battle which ended up just about even-stevens, with him pipping the first set 6-5 and me just ahead 2-1 in the second when we stopped. The second match, against the youngster, I thought I did surprisingly well, given his age, provenance and the meagre handicap I was allowed; I won 6-2 6-5, the second set being a real nail-biter.

Hopefully my technique has come on since this picture was taken in autumn 2016.

A Get together With Ashley Fletcher In Finsbury Park, 10 April 2019

Our getting together was long overdue; it’s been a good few years. Mostly because Ashley doesn’t travel to London all that much and my visits to Manchester have been few and irritatingly poorly timed for Ashley’s availability.

After our recent attempt on my visit to Manchester in March went awry…

…we redoubled our efforts, not least because Ashley was due in London just a few weeks later. So I kept the late afternoon/early evening free awaiting further instructions from Ashley.

He suggested an early dinner at La Fabrica in Finsbury Park. I arranged to meet Ashely at The Terrace Cafe, situated between his hotel and the restaurant, enabling me to do the cross town hike ahead of the rush hour and get some reading done while I waited for Ashley.

Picture from the Hackney Gazette – click the pic for an interesting article about this cafe.

For a while, earlier in the day, I wondered whether our plans might come to nought. Ashley was down in London for a friend’s citizenship ceremony and celebration. Ashley sent me the following pictures and note from The Landmark

– May be slightly squify

I’ve heard of Champagne Socialists, but a Champagne Anarchist?

Anyway, Ashley turned up at The Terrace at the appointed hour seemingly not the worse for wear. He had a soft drink there, though, while I had a juice rather than a second coffee.

Then on to La Fabrica, which was a great choice of place. We tried several tapas, including scallops with chorizo, cod croquettes, Iberico loin with apples, Iberico ribs, prawns in a yummy sauce…

…washed down with a rather yummy garnache/carignon wine.

Unfortunately, Ashley was quite incapable of contributing to the Don Giovanni story from 1989…

…to such an extent that he claims not even to remember being there. Bobbie will not be impressed.

Still, Ashley and I did have a very good chat/catch up. Not only that; Ashley and I also had a good go at resolving some of the UK and the world’s problems.

Unfortunately, though, one evening was not enough to actually solve any of those major world problems. Maybe next time. And hopefully next time won’t be years and years away.

Katarina Karnéus & Julius Drake, Wigmore Hall, 8 April 2019

To “The Wig” at lunchtime for a concert of songs.

Romantic music from the late 19th early 20th century. Not the sort of music that Daisy normally goes for, but there were several songs by Alma Mahler in this concert; as Daisy knows Marina Mahler, the granddaughter, Janie was interested enough to give it a try.

Actually, the simplicity of the solo voice and piano pleased Daisy; the whole concert was very relaxing. Even the Alban Berg, which I thought might be a bit impenetrable, wasn’t.

I really liked the Sibelius song they performed on encore – Var det en dröm? – which I don’t think I had ever heard before.

Here is a link to the Wigmore Hall resources on this concert.It was one of those Radio 3 jobbies, so if you got here soon enough you can read all about it and/or listen to the concert on-line – click here.

On Janie’s suggestion, we had taken a sneak peak at Massimo Dutti before we got to The Wig. I had some colourful shirts put aside for me to try on after the concert.

But once the performance had ended, we both had a bit of a hunger on, so went to the Wigmore Hall restaurant, just for some soup, to tide us over until evening. Butternut squash soup it was, very tasty.

If you look at the table behind us, I inadvertently caught the performers at lunch –
Julius Drake glancing in our direction while talking to the woman to his left; Katarina Karnéus sitting to Julius Drake’s right

After soup, we legged it to Massimo Dutti where the young lady who had been serving us earlier was just about to give up on us and put the shirts away again. I bought four, which I shall always associate with this very enjoyable afternoon and concert.

A Double Dose Of Fashion: Mary Quant & Christian Dior, V&A, 5 April 2019

Not like me to be a fashionista, but Janie loves the V&A and had worked out that, on the back of her membership, we could take in the new Mary Quant and Christian Dior exhibitions in preview without breaking a sweat on this late opening Friday.

I preceded the impending double dose of fashion with a double dose of tennis. The first hour was a singles bout against a gentleman who was a fairly regular opponent of mine in the early days but who I hadn’t played for some while. The handicap system had us level for this game, but I think he was having a bit of an off day and in any case all the luck seemed to go my way and not his, resulting in me registering a good win.

The second hour was the senior doubles, which I have mentioned several times before, e.g. click here. Robin Simpson, who is one of the handful of nonagenarians who still plays, was on the other side and on top form today. He seemed able to get back everything my partner and I could throw at him. In truth it was a delight to witness his performance, except that, at 5-all, 30-all, you don’t want your supposed winning shots sent back to you with interest, on two consecutive points, by a 92-year-old, to seal the set for your opponents.

Photo from a previous doubles of a somewhat less senior variety

Then a quick snack before Janie joined me and we headed off to the V&A. We figured that the late afternoon slot might be best for minimising the queuing, as we had been warned that we might need to queue for quite a long time for both the Quant and the Dior.

The members desk recommended that we start with Quant, where we only had to queue for about 10 minutes. Dig this groovy trailer for the show:

This exhibition will be running until February 2020, so if you read this Ogblog piece in time, clicking here or on the image below will tell you how to see the show – in any case the V&A resources about this show should still be there.

Click this image to see the V&A website resources on this Mary Quant exhibition, including the credit for this image.

Janie especially loves these 60’s fashions. I found the story of Mary Quant’s early life interesting…

…indeed, in truth, I was more interested in the whole iconography and 60’s culture generally than in the fashion. But this show has plenty of fun imagery and artefacts as well as fashion garments.

More coat couture than haute couture.
Photos (apart from the link ones, which are credited on the V&A site) by Daisy (Janie) – this one shows Mary Quant’s Daisy doll – after our time apparently.

Then Janie and I went to the Members Lounge for some refreshments before braving the Dior queue, which we had been warned was a formidable 30 minutes or more job.

The Christian Dior exhibition has been running since February and has proved so incredibly popular that the run has been extended to September 2019, but even that has now sold out so it is available to members only in the absence of pre-booked tickets.

Click here or the image below for on-line information about the Dior exhibition. There are several vids and lots of amazing photos and panoramas of the show, which might satisfy many a curious reader who cannot get to see the show itself.

Click this image for the V&A resources on the Christian Dior exhibition,
including the credit for this image.

In the event, our choice of that late afternoon/early evening slot proved wise, as we only needed to queue for about 5 minutes to get in to the Dior. We chatted with an unusual lady dressed in a bizarre assortment of home-made turquoise-dyed garments.

The haute couture in truth means even less to me than the Mary Quant type fashion, but the context of Dior’s life, untimely death and then how the House of Dior progressed over the decades was interesting.

Further, the Dior exhibition in particular is beautifully laid out – stunning in places, so Janie, who took loads of photos in the Quant one, took loads more in the Dior one.

Spot Ged
Spot Daisy
Dreamy final room…
…so dreamy I almost nodded off in there.

Janie’s stack of pictures from this afternoon and early evening at the V&A can all be seen on Flickr by clicking here or below.


I found the contrast between the two exhibitions fascinating, making it a well worthwhile visit, for me, to see the two shows. In truth, it was a very enjoyable and interesting outing from both of our points of view. The benefits of Janie being a member of the V&A really came into play for this visit. We’re planning another next month, so watch this space!

An Afternoon Of Art At Tate Britain: Van Gogh and Don McCullin, 1 April 2019

From Tate Britain Exhibition Area – click image for all that relevant Tate Britain information

We wanted to see both the Don McCullin and the Van Gogh exhibitions, so we booked out an afternoon soon after the latter opened. It timed well also with the Middlesex County Cricket Club AGM that evening.

As Janie commented afterwards, being a member of the Tate is no longer a great advantage viz-a-viz getting to see major exhibitions at a quiet time…unless you take advantage of the “early Sunday morning” option.

Still, I think mid afternoon on a Monday was about as good as it is going to get with the Van Gogh, certainly for the early weeks of its run, as he is such a popular artist and this is such a major retrospective on him.

Last featured at the Tate in 1947 (I’ll guess that my dad will have gone to that one as he was studying art at that time), Van Gogh returns to Tate Britain after all these years in a show designed to illustrate how much Van Gogh was influenced by British artists of the late 19th century and how much he in turn influenced British artists of the 20th century.

Janie and I found some of the connections a little tenuous and felt that there were rather too many second rate British works on show. I guess the curators want the exhibition to look big and perhaps they want to show the Van Gogh works for what they are – truly exceptional examples.

Janie and I are also blessed with having had the opportunity to see a great many Van Gogh works around the place; not only those that reside in London but also in New York, Paris and Amsterdam. I shall be writing up my 1989 culture-vulturedom in Amsterdam quite soon, as we approach the 30th anniversary of that visit; the Van Gogh Museum was for sure on of the highlights then. Many works from that venue are on show in London at the moment.

Here is another link to the Van Gogh materials on the Tate site (the Van Gogh picture also has the link).

The Battle for the City of Hue, South Vietnam, US Marine Inside Civilian House 1968, printed 2013 Don McCullin born 1935 ARTIST ROOMS Tate and National Galleries of Scotland. Purchased with the assistance of the ARTIST ROOMS Endowment, supported by the Henry Moore Foundation and Tate Members 2014 http://www.tate.org.uk/art/work/AR01196. Click the above picture to see the Tate Britain on-line resources for the Don McCullin exhibition.

I had been especially excited about seeing the Don McCullin since I first read about it; I have long admired his photography but never seen a whole load of it assembled in one place.

This exhibition, a major retrospective on his life’s work, is quite exceptional. McCullin’s early work documents the grimier side of North and east London in the 1950s. Even from those early photographs McCullin’s extraordinary talent for framing and use of light in black and white photography shines through.

He is best known for his international photography, documenting wars and natural disasters, mostly in the 1960s and 1970s. Many of the works are harrowing but they are always respectful of their subjects and informative rather than judgemental.

Some of his later work is quite brilliant too. Janie and I especially enjoyed seeing his photos from the South Omo valley in Ethiopia, which McCullin visited only a year or so before we did. I’m sure I recognised one of the Karo tribesman McCullin had photographed as one of the young men who welcomed us at a Karo village.

Bit hard to tell from the back of his head

Here is another copy of the link to the Don McCullin exhibition resources on the Tate site.

After the Tate, Janie and I went on to Lord’s for the Middlesex AGM and a very pleasant drinks part afterwards, rounding off a thoroughly enjoyable day.

Message to art lovers though – both of these exhibitions, Van Gogh and Don McCullin, are top notch. Well worth a visit to Tate Britain for either or especially both.

In Search Of Lost Time and Found Memories, A Performance Piece For The Second Theadmash, Gladstone Arms, 28 March 2019

On pondering the topic, lost and found, I soon realised that the thing I tend to lose most frequently at this stage of my life is time. And that the thing I am seeking to find with the most gusto is memories.

Those thoughts reminded me of two anecdotes.

The first one came at the end of the cricket season a few years ago.

Late season, I always try to take in a day of county cricket with my old friend, Charley “The Gent” Malloy. It helps us both to prepare for the inevitable winter withdrawal symptoms. The cricket season starts earlier and ends later each year, yet it seems to fly by faster than ever. Where do those months go?

In order to investigate this temporal phenomenon, which I shall paraphrase as ‘in search of lost time,’ I decided to add a large packet of madeleines to the picnic. I had bought that large pack earlier in the season but had not got around to using them. Those madeleines would expire before the next season. Besides, as any fool knows…

…or at least anyone with a vague knowledge of the writings of Marcel Proust…

…when in search of lost time, what you need more than anything else, is madeleines.

Madeleines de Commercy

No sooner had the umpires called “tea”, than out came the madeleines.

And no sooner had the crumbs touched my palate, than a shudder ran through me and I stopped, intent upon the extraordinary thing that was happening to me. An exquisite pleasure had invaded my senses. Whence did it come? What did it mean? How could I seize and apprehend it?

And suddenly the memory revealed itself. The taste was that of the little piece of madeleine which on Sunday mornings nanny would hand me, after dressing me in my little sailor suit, when I went to say good morning to mama in her boudoir.

“Are you getting involuntary memory from these?” I asked.

“Yup,” said Charley. “I can recall the rare occasions in that grim North-Eastern mining town, when mum would put a tiny pile of cakes on the table and the whole family would fight like wildcats in the hope that a few crumbs might touch yer palate.”

Now Charley is Essex born and bred. He does have some County Durham ancestry way back, but I’m not sure he’d ever even been to County Durham until we went together to the Durham test match in 2013.

“Hmm”, I said. “I think we might both be getting false memory rather than involuntary recovered memory from this packet of madeleines. Must be the lack of lemon zest. Still, they’re surprisingly good for packaged cakes. I’ll have another.”

“Me too”, said Charley.

So we ate three or four each and Charley took the remainder home to share with his starving wife and bairns.

Now, not all that long afterwards, I experienced a real example of finding a lost memory as a result of eating food. The foodstuff wasn’t madeleines this second time; it was caviar. Janie decided to treat us to a small pot of Ossetra caviar to help celebrate New Year’s Eve.

And this time, the recovered memory was an extremely peculiar but absolutely genuine memory…

…about Hitler.

Now there is an internet adage known as Godwin’s Law, which states (I paraphrase) that any internet discussion will eventually descend into a Hitler comparison.

Surely Threadmash should be a Hitler-free, safe space; not subject to an immersive equivalent of Godwin’s Law? Normally, yes, but not today.

From my infancy all the way through my childhood in Streatham, we had a wonderful lady doctor, Dr Edwina Green. Edwina was a GP who went way beyond the call of duty.

For example, because I was…how should I put this?…more than a little fearful of my jabs as an infant, she came round to our house to dispense the vaccinations. On one famous occasion, when I was feeling particularly averse to being stabbed, Edwina indicated to mum that my rump might make a better target in the circumstances. I worked out the coded message and tried to bolt. The end result was a chase around the room and eventually a rather undignified bot shot delivered by Edwina under the dining room table. My mum oft-reminded me of this later in my life.

Not even the trike was fast enough for me to escape Edwina’s needle

This extraordinary level of pastoral care and attentiveness went beyond zealously inoculating reluctant Harris miniatures – Edwina and her family were close friends with my immediate family, not least the ones who came “from the old country”. Uncle Manny, whose opinions were so robust and plentiful, that everyone in the family called him Pundit…and Grandma Anne – a traditional Jewish grandmother, who peppered her heavily-accented English with “bissel Yiddish”.

Grandma Anne With Dad (left) & Uncle Michael (right), c1930
Uncle Pundit (centre) with Dad (left) and Uncle Michael (right), c1950

In the early 1970s, at Christmas-time, my parents would go to Edwina’s house for a seasonal party, along with many other local folk. Naturally, my parents plied Edwina and her family with gifts…many of Edwina’s other patients and guests most certainly did the same.

A strange tradition arose, in which Edwina reciprocated our present giving by handing down a generous gift she would always receive from a wealthy Iranian patient; an enormous pot, I think a pound, of Iranian Beluga caviar.

By Mai Le [CC BY 2.0 (http://creativecommons.org/licenses/by/2.0)], via Wikimedia Commons

Edwina and family didn’t like the taste of caviar. Nor did my dad, as it happens. But mum loved it and I acquired a seasonal taste for it too.

Each year, mum and I would eat Beluga caviar on toast for breakfast for the first couple of weeks of the year.

Even back then caviar, especially Beluga caviar, was very expensive. Not equivalent to the “critically endangered, barely legal, hard to get hold of” price levels of today, but still very much a pricey, luxury item.

I remember mum warning me not to tell my friends at school that I was eating caviar on toast for breakfast, because they would surmise that I was a liar or that we were a rich family or (worst of all) both.

There was only one problem with this suburban community idyll; Don Knipe. Edwina’s husband.

Don liked his drink. Specifically Scotch whisky. More specifically, Teacher’s whisky. A bottle of Teacher’s always formed part of our family Christmas gift offering, that bottle forming but a tiny proportion of Don’s annual intake.

By ramkrsna (http://www.flickr.com/photos/ramkrsna/384365364/) [CC BY-SA 2.0 (https://creativecommons.org/licenses/by-sa/2.0)], via Wikimedia Commons

Don I recall always being described as “eccentric”, but, as the years went on, Don’s eccentricities gained focus with increasing unpleasantness. Don joined the National Front, at that time the most prominent far-right, overtly fascist party in the UK.

One year, when I was already in my teens, my parents returned early from Edwina and Don’s party. I learned that Don had acquired a large bust of Hitler, which was being proudly displayed as a centrepiece in the living room. My mother had protested to Don about the bust, asking him to remove it, but to no avail. Mum had taken matters into her own hands by rotating the bust by 180 degrees. When Don insisted on rotating Hitler’s bust back to its forward-facing position, mum and dad left the party in protest.

Mum told Don and Edwina that they remained welcome at our house but that she would not be visiting their house while Hitler remained on show.

One evening, a few weeks or months later, my parents had Edwina, Don and some other people around our house. The topic of Hitler and Nazi atrocities came up. Don started sounding off about the Holocaust not really having been as bad as people made out.

Edwina And Don At My Bar Mitzvah, Natch.

My father stood up and quietly told me to go upstairs to my bedroom. I scampered up the stairs but hovered on the landing out of view to get a sense of what was happening.

My father was a very gentle man. I only remember him being angry twice in my whole life; this was one of those occasions.

“You f***ing c***!”, I heard my dad exclaim.

I learned afterwards that my father, not a big man but a colossus beside the scrawny form of Don Knipe, had pinned Don to the wall and gone very red in the face while delivering his brace of expletives.

I heard the sound of a kerfuffle, a few more angry exchanges, ending with “get out of my house”. Then I heard Don and Edwina leave the house. Edwina was weeping, apologising and trying to explain that Don doesn’t know or mean what he says.

Dad – a supremely gentle fellow…usually

The story gets weirder. Edwina remained our family doctor, although social visits were now at an end. Don and Edwina remained extremely attentive to Uncle Manny’s branch of the family and Grandma Anne.

And the seasonal exchange of gifts remained sacrosanct.

For reasons I now find hard to fathom, I became the conduit for the seasonal gift exchange. Why my mother, who organised the errand, felt that I would be less defiled than my parents by visiting a household that displays a bust of Hitler, I have no idea.

Anyway, for several years I would go to Edwina and Don’s house to deliver our presents and collect the fishy swag. I didn’t go into the large living room which contained Hitler’s bust; I would usually be received in a smaller front drawing room.

As I got a bit older, Don would ask me to join him for a whisky and a cigarette; offers which I accepted.

I can’t recall what Don and I normally talked about; not politics. We probably just chatted vaguely about my family and the weather.

But I do recall what we talked about in 1981, my last visit in this ritual.

Uncle Manny had passed away suddenly and rather dramatically in May that year. Grandma Anne never really recovered from the shock of Uncle Manny’s demise and died in the autumn that same year.

By late December 1981 I had completed four terms at Keele; I was far more politically aware than I had been in earlier years.

Don greeted me at the front door, as usual, but this time said, “come through to the living room and have a whisky with me.”

“Not if Hitler is still in there,” I said.

“Oh don’t start all that”, blustered Don, who I think must have made a start on the whisky before I got to the house that morning. “I really want to chat to you about your late uncle and your grandma.” Don started to cry.

I relented and entered the forbidden chamber.

And there he was, in the sitting room, glaring in my direction.

Hitler.

The bust of Hitler, I mean. I said the story was genuine and strange, not deranged.

Hitler’s bust, resplendently positioned with Nazi flags and books about the Third Reich on display around it.

I accepted a generous slug of Teacher’s and a Rothmans; then I reluctantly sat down.

Don was crying. “I miss your Uncle Manny and your Grandma Anne so much”, he said, “you have no idea how fond of them I was. I love your family.”

I remember saying words to this effect, “Don, I understand that you sincerely love my family, but I cannot reconcile that love with Hitler, Nazi memorabilia, your membership of the National Front and you keeping company with those who hold such views. Those are antisemitic, out-and-out racist organisations and people. It makes no sense to me.”

“It’s not about Jewish people like your family. I love your family.”

“So what sort of people is it about?” I asked.

“Other people. You don’t understand”, said Don.

Don was right. I didn’t understand. I still don’t understand. It isn’t as if our family was so secular and Westernised. Uncle Manny and Grandma Anne were like Jewish stereotype characters from central casting.

“Godwin’s Law, Godwin’s Schmo, Don Was Always A Mensch Towards Me”

I think I was polite in making my excuses and leaving fairly quickly. The visit certainly didn’t end in any acrimony or hostility. For sure I got the caviar. But I resolved not to run that errand again and (as far as I recall) didn’t ever visit that house again.

Strange. And I found that memory simply as a result of sampling a small pot of caviar with Janie.

Now, as an experiment this evening, I thought it would be fascinating for all of us here at Threadmash to see if we can find lost memories in this way.

So, at my own cost…

…with absolutely no expense spared…

…I have bought each of you a small pot…

[TURN PAGE IN SEARCH OF THE PUNCHLINE]

…I have bought each of you a small, pot-entially Proustian…

…madeleine.

[HAND OUT WRAPPED MADELEINES FROM BAG]

Postscript – Brief Review Of the Evening, Written The Morning After

We gathered excitedly at the Gladstone Arms for this second Threadmash. Ten of us with stories to tell and just a couple of people this time observing only.

People listening intently to Rohan’s intro

As last time, Rohan was the arranger and compere for the evening. He stitched me up to go first – which explains why I was in a good position to photograph some of the group from the side during Rohan’s intro.

Eight of us were having a second go; two new people joined us in telling a story.

The stories tended to be darker and more visceral this time. Perhaps the topic, “Lost and Found” was asking for that. Two of the stories were about experiences with drugs and/or addiction. Two were about nearly losing a loved one, together with the intense emotions that arise from such events. One was about nearly losing a cherished artefact – in this case a violin; a personal story, interestingly, nevertheless, told in the third person.

Several of the pieces this time were experimental in their written style. One was in blank verse. Two were fabulist, in one case making it intriguingly hard to tell the extent to which it was based on personal experience. One story spanned over fifty years and ended with a fascinating revelation.

All of the stories and performances were very good indeed; delivered and received with great warmth.

To continue the thread for next time, Rohan brought a pile of single records, from which we each picked two at random, so we shall each have a different title next time and some element of choice from the records we picked.

Not a bad random choice to trigger story-telling

One story teller, earlier in the evening, had said that we don’t always find stories to tell; sometimes a story finds us. I was pondering this fascinating idea, after parting company with the last of my companions, as I switched to the Central Line at Bank. There, on the train, as I sat down in the almost empty carriage, on the seat opposite me, a story found me:

There simply has to be a story behind that crumpled Ann Summers bag. It won’t be my next Threadmash story, but it is a story that should be told. If you want to tell it; please do so – it might not be for me to tell that story.

It had been a wonderful evening.

As I write, the next morning, my head is full of all of those stories and the warm, friendly feeling that pervaded the evening. Strangely, I cannot find a single word to describe that feeling in English, whereas there is a suitably descriptive word for it in German: Gemütlichkeit.

Once again Rohan, many thanks for making Threadmash happen. Here’s to the next one.

Wilderness by Kellie Smith, Hampstead Theatre Downstairs, 23 March 2019

We saw the third preview of this excellent play/production at the Hampstead Downstairs.

A link to Hampstead’s information on this piece can be found through this link or the picture below:

Wilderness is about a couple who split up, determined to make it amicable for the sake of their eight-year-old son. But of course it doesn’t work out like that.

Janie and I found this play a painfully visceral piece. Neither Janie nor I have direct experience of this scenario, but that didn’t lessen the power of the drama for us.

Anna Ledwich, who has directed so many of the excellent things we’ve seen at the Hampstead, has again done brilliant work with a new writer, Kellie Smith and a superb cast: Richard Frame, Natalie Klamar, Allison Mckenzie, Finlay Robertson.

An excellent, sparse set by Lucy Sierra added to the sense of cold and decay that pervaded the piece.

One element of the writing that I think deserves praise was how very irritating the main characters were, yet Kellie Smith managed to maintain a sense of goodness and vulnerability, such that we as audience members cared about them and cared what happened to them. One of the ways she did that was to prevent us from ever seeing the child at the centre of the tussle; of course we couldn’t but care deeply for the ever-absent child and the impact the play’s events must have been having on him.

One other event will stick long in our memories. Next to us sat two slightly unusual women; one young, one quite a bit older. They clearly weren’t together but struck up a chatting friendship. At the end of the interval, the younger woman came back with some wine and cake. She plonked the wine down in front of her (we were in the front row) and commenced with munching the cake, taking and expressing great joy in her victuals.

Janie and I both, silently, thought that wine cup was an accident waiting to happen, positioned, as it was, in the path of any late-comer who might be moving swiftly to their seat at the end of the interval. Within a minute, indeed such a latecomer arrived and indeed the cup and the wine were put asunder. To make matters worse, in her dismay and forward lunge in a vain attempt to rescue her wine, the young woman also dropped the remains of her cake.

“Oh no”, said the young woman, “that was entirely my own fault”.

In some ways, that silly incident felt like a comedic metaphor for the serious subject matter of the play. Meanwhile, I have been trying to work out if I can find yet sillier places to leave victuals and crockery lying around the house in order to maximise the chance that they get spilt and/or broken. Thought experiment only, you understand.

But back to this truly excellent play/production, Wilderness. It really is well worth seeing if you like your drama intense, up close and personal.

Plenty of seats still available at the time of writing; Janie and I would suggest that you book early to avoid disappointment. The production runs to 27 April 2019 and I hope it gets a deserved transfer after that.

If or when Wilderness gets formal reviews, this link should find them.

Art For Art’s Sake: An Evening With Simon Jacobs Recording I Only Have Eyes For You, Followed BY Dinner At The Brackenbury Wine Rooms, 21 March 2019

Did I mention that I had a recording deal lined up? Yeh, Simon Jacobs, who does producing as well as recording and all that – he signed me up to do a demo in his high tech studio. This could be the start of my stratospheric popular music career and not before time, frankly.

Now Simon is a very musical chap and has been so for longer than I have known him, which is well north of 40 years. Here, for example, is his latest hit, Ghosts, which he released many weeks ago, but it refuses to fade in the Spotify rankings, still getting infeasible thousands of streams a week on that platform – the YouTube is below so you can also see the vid:

So what, in the name of all that is good and pure, was Simon thinking when he suggested that I record the Warren & Durbin classic, I Only Have Eyes For You. Not in the original Dick Powell pitch/key of C (heck knows that is hard enough for me, even with the sheet music to look at), but nine whole stops up the register in the Art Garfunkel range.

Nine whole stops. That’s like, Notting Hill Gate to South Ruislip, if you are daft enough to go west from Notting Hll. Even Ian Pittaway, my music teacher, who has crazy ideas about my ability to reach high notes, only nudges me three or very occasionally five stops up.

Here’s the result of Simon’s wild musical concept:

The idea for this recording session/evening emerged some six months ago, when Simon and I last dined in Hammersmith…

…and discussed the song, I Only Have Eyes For You, which I butchered lyrically for Casablanca The Musical…

…the revival of which I was just about to go and see in September 2018:

Anyway, Simon said that he much preferred the Art Garfunkel version of the song:

While I complained that even the original Dick Powell was wicked hard for me to play and/or sing.

But Simon insisted that his recording gadgetry could rectify any minor failings in my singing and that he thought he could, with a little effort, turn me into a latter-day Art.

It seemed like a jolly good excuse for a get together and/but life seemed to intervene for a while, so a ridiculous number of months passed before we actually got round to implementing the plan.

On the day, I arrived at Simon’s West London studio, which also doubles as his house, late afternoon/early evening, ready for a rollicking rock’n’roll evening of music.

First up, obviously, we indulged in some appropriate herbal substances; a big mug of tea each, together with some chat about really trendy topics, such a Brexit.

Then down to business with the recording.

I felt a little strange working on that particular song, that particular week. A couple of days earlier I’d been to the funeral of our neighbour, Barry Edson, who was an aficionado of film musicals. I’d had several interesting conversations with Barry about Warren and Durbin songs and Barry had shown me interesting stuff about those song writers from his library-sized collection of books on the topic.

But back to me recording I Only Have Eyes For You in an Art-like style with the help of computerised sound engineering.

Actually it was a very interesting process for me. Simon clearly does this sort of thing a lot, but mostly with his own, not with anyone else’s, voice.

We had a rehearsal run through. Then we took a recording take which sounded crackly. That led to some rearrangement of the microphone, the music and me. I even offered to remove my socks but those lengths were deemed unnecessary.

Then a couple more takes, at which point Simon thought we might try to repair take four with some fragments, but after we’d done that, I suggested one more try at a better straight-through take.

I’m glad I did that, because the final take was, in my opinion, quite a lot better than the previous ones (I realise that notion might be hard for the listener to believe).

Then Simon really got down to doing the sound engineering thing.

Simon is geeking my song

It was a bit like having your homework marked in front of the school teacher. On many of my notes, there was a huge amount of vibrato which Simon was able to smooth a bit.

Imagine, as an analogy, someone using fancy software to turn my legendary illegible handwriting into something that looks more like a legible script.

Is there any handwriting-smoothing software that might help? – September 1989 sample

The music software would help each note find its probable home on the scale. But sometimes the thing I had sung was closer to some other note than the note that the purist might fussily describe as the “right” note.

Actually I believe I did sing all the right notes…just not necessarily in the right order.

But it didn’t matter because Simon’s fancy software could shift pretty much whatever I sang to the exact place it belonged on the scale.

On just one occasion did Simon have to say, “I’m not even sure what you’re supposed to be singing there – may I please see the music?” – that was on the second intro couplet, which Art Garfunkle doesn’t sing.

And there is the one note that I strangled so very comprehensively that no amount of tinkering seemed able to repair it. Let’s imagine that I was gulping with emotion on that note.

Then some more listenings and some more tinkerings…

…by which time I was getting quite excited and wondered whether we should try more and more takes, on the basis that my voice seemed to be getting better and better each time.

The conversation then drifted towards artistes who had spent months or even years trying to perfect individual tracks for release.

I wondered whether we might lock ourselves away, perfecting this track, for, say, five years, in order to emerge, not only with a sure-fire hit on our hands, but with Brexit over. Simon thought that five years is probably not long enough…to ensure that Brexit is over with.

Anyway, in case you missed it above, or want to hear it again, here’s the end result:


Timothy then joined me and Simon for dinner at The Brackenbury Wine Rooms, which was a suitably convenient and high quality location for some good food & wine plus some top notch natter. It was a good opportunity to get to know Timothy a little better – the only time I’d met him before was at Simon’s Circle Line album launch, about 18 months ago, which was not an occasion for getting to know people well.

On parting, I suggested dates for me to return to record the rest of the album. But Simon just shook his head politely and solemnly. “A one-off recording deal, that was”, he said.

“Not even a B-side for the single?” I asked.

Simon shook his head politely and solemnly again, as both Simon and Timothy said, “goodbye,” not, “au revoir.”

But…

…and here’s a thing…

…when I listened to the track again the next morning, it sounded far better to me than it had the evening before. I said so to Simon, in a thank you message. Simon’s reply, perhaps similarly inspired by a re-listening:

Glad you like your recorded performance! Do let me know when you’re ready to record your whole album!! 

So now I have an album deal lined up? Yeh, that well-known music producer Simon Jacobs…this must be the next stage of my stratospheric popular music career and not before time, frankly.

A Superb Evening At Mere Restaurant With John And Mandy, 16 March 2019

In many ways this evening had been long in the planning. Janie and I spotted Mere as a suitable place to dine with John & Mandy last summer, but in the end we opted for Dinner In Noddyland:

Then, a few months later, I chose it for a midweek get together with John:

So good was it, that John and I decided that we “owed it to the girls” to all four have a meal there once the opportunity arose. Now was that opportunity.

We met ahead of our booking time to have a drink in the lovely bar. Janie and I got there first and I ordered a bottle of the excellent Sancerre that John and I had tried at Mere the first time around.

Once John and Mandy arrived, we chatted a fair bit about Manchester and Lydia’s professional debut in Rags, of course, which I had witnessed just a few days earlier:

We also discussed many other things, not least John and Mandy’s other daughter, Bella, who looks set to go to Manchester to study – does Bella not know about the inclement weather in Manchester?

We all decided we wanted to try the tasting menu; so we did. Three of us (all bar Mandy) also went for the wine pairings.

John And Mandy taking it all in, as the sommelier explains the first of the wine pairings
Here’s all the stuff we tasted, in words.

Janie took the pictures, which explains why she appears in none of them. Take my word for it, Janie was also listening attentively, smiling a lot and enjoying the tastes, smells and the chat.

Leeks & Truffle
Attentive listening
Cornish Cod
Was I describing Hitler’s cohones at this juncture? Something like that.
Scallop
Mandy sniffs the interesting Youngblood Grenache served with the scallop
Rose Veal
We really do look like a couple of pseudo-connoisseurs in this picture
White Port to go with the cheese
Cheese (mine mercifully without the candied walnut)
Am I unconvinced by the final wine or just running out of steam?
Apple
Chocoholics delight

This Ogblog piece makes it look as though we did an awful lot of eating and drinking, which we did. But the portion sizes were such that we did not feel stuffed or sloshed at the end of the meal, just very happy.

We all four know how lucky we are to be able to eat in a place as good as Mere and to be able to enjoy the company of such good friends. It was a truly memorable and wonderful evening.

Or, to summarise in one word using John’s favourite adjective back in the mid 1980s:

Tremendous.