The Savages, Watermans Art Centre, 16 February 2008

At that stage, Janie and I must have both been retaining enough of a sense of humour and curiosity about the challenges of looking after ageing parents, not least the onset of dementia, to have been attracted by the reviews of this movie, The Savages.

Just a few years later, I can imagine saying, “I can get all that at home” and not wanting to see it. But then, we were clearly so keen to see this movie,
unusually, we made an appointment to view in our diaries, hence me knowing years later (writing in January 2019) that we went to the Watermans Art Centre in Brentford to see The Savages – click here for IMDb listing.

In part we would have been keen to see Phillip Seymour Hoffman, whose theatre work had impressed us so much by then. In part the great reviews and subject matter would have drawn us.

By that time we were not so keen on the Watermans, finding it rather cold and utilitarian, especially at that time of year. But we were that keen to see this movie and the Watermans was the most convenient place to go and see it.

Below is an embedded link to the movie’s trailer:

https://youtu.be/skGbUq_ZyGU

We thought this movie was simply excellent. We laughed, we felt sad, it made us think.

Highly recommended to anyone who is on the verge of or is currently having to deal with parental decrepitude.

The Masque Of The Red Death by Punchdrunk, Battersea Arts Centre, 15 February 2008

Wow and double wow. This was a Friday evening to remember.

There is an excellent Wikipedia entry describing this outstanding immersive theatre / site-specific installation show, saving me the trouble – here.

The references section of that Wikipedia article has links to most of the hot reviews.

Here also is a link to Punchdrunk’s archive piece on this production.

This piece from the Battersea Arts Centre (BAC) site is very interesting.

We went on a Friday evening, so we got to enjoy an after-show party as well as the show.

Naturally we lost each other in the first part of the show; the cast and ushers deliberately separate you to add to the sense of discombobulation and to make you wander around in a less-than linear way.

I managed to find my way to the bar a fair bit quicker than Janie did and ran into Richard Russell (who I used to see regularly at Lambton Place back then) and his entourage. Janie eventually joined us; she had met Richard before, not all that long before in fact, at the Cafe Anglais. She wondered afterwards if “that man is everywhere”; turned out soon enough that he was!

Then a bit more wandering around; I wanted to make sure I’d seen all the action from the earlier part of the show. Then the ushers started to steward us into the more climatic scenes and then to the finale and party, where we ran into Richard and Co. again. They stuck around longer than we did. The live band were very good; I remember them playing Swing Swing Swing with great verve.

An especially memorable show and evening.

 

Moore at Kew, 30 December 2007

Henry Moore at Kew - "Oval with points" and Palm House
© Copyright David Hawgood 2007, licensed for reuse under a Creative Commons Licence

We were keen to see this exhibition over the holiday period, so decided to take advantage of a bright, albeit cold day.

There weren’t many people around, which suited us down to the ground, but probably did little for the fortunes of Kew.

Janie and I have always really liked the Henry Moore stuff.

I remember going to see an exhibition in Battersea Park when I was little and crawling through some of the holes in the sculptures.

Indeed I have subsequently (March 2021) discovered some photos from my hole-crawling day and written up that 1966 exhibition (more thoroughly than this 2007 one) – click here or below:

Battersea Park Open Air Sculpture Exhibition, Summer 1966

I am delighted (while mildly disappointed) to report that there was no hole-crawling activity from me (or Janie) at Kew.

My Name Is Albert Ayler, ICA, 27 December 2007

Our tradition of going to see interesting movies between Christmas and New Year goes back quite a long way, but many of those visits will be lost in the mists of time as we often would plan and do those visits “on a whim”, with neither of us recording the details in our diary.

But both Janie and I recorded this one in our diaries, as we were fitting this evening visit between quite busy Twixtmas work schedules that year.

Christmas had been a slightly sombre but not sober affair that year. The first gathering without dad and (as it turned out) Len’s last gathering. Janie soldiered on with many of the traditions that had formed over the past few years, not least (I think) a goose. I’ll write more about such gatherings for an earlier, happier year.

Anyway, My Name Is Albert Ayler was a highly acclaimed movie about the jazz musician of that name. We had not got round to seeing it when it was released earlier that year in the UK so were thrilled to see that we had the chance to catch it one evening at the ICA.

We were both very much taken with the movie, which we found very interesting, although we are less sure about free jazz music, as our experience at the Festival Hall a few months earlier attests:

Albert Ayler’s free jazz is a little easier on the ear than the above concert was…but not much. You can judge for yourselves with the YouTube of Ayler’s 1963 album, My Name Is Albert Ayler, below:

No trailer for the movie on line, sadly.

We were hardy (foolhardy?) folk in those days – we saw a late movie and must have eaten afterwards, as we both saw clients late afternoon/early evening. Then we got up at silly o’clock, because Janie had a very early patient to see the next morning.

Still, at least we can be pretty sure that free jazz wouldn’t have given either of us an ear worm tune through the night.

The Art of Lee Miller followed by Dinner at Cambio de Tercio, Z/Yen Staff Christmas Event, 14 December 2007

Ian and Janie

The above picture, from Cambio de Tercio, is possibly the last photo taken of me before I grew my beard over that Christmas break. I suspect I should be “crediting” Monique for it, or possibly Jez given the proximity of the photographer to Sarah.

Earlier in the evening we had all enjoyed a cultural time at the V&A. Most people followed Linda’s lead to The Golden Age of Couture, but I was keen to see photography instead; The Art of Lee Miller. I think Janie had already seen the couture, so some folk joined us for the photographic exhibition.

Cambio de Tercio is a fine restaurant and we indeed had a very fine meal there.

The song that year was, Santa’s Using PropheZy At Z/Yen to the tune of Santa Claus is Coming To town:

SANTA’S USING PROPHEZY AT Z/YEN
(
Sung to the tune of “Santa Claus is Coming To Town”)
He’s made an edict!
He needs to know why!
He’s out to predict,
He will classify;Santa Claus Is Coming To Z/Yen,
PropheZy has done it again,
Santa’s using PropheZy at Z/Yen!Santa’s making a list,
He’s checking it twice,
His model works out
Who’s naughty and nice.

Santa Claus Is Coming To Z/Yen,
PropheZy has done it again,
Santa’s using PropheZy at Z/Yen!

He predicts when you’re not sleeping,
He predicts when you’re serene,
He computes if you’ve been bad or good,
In Support Vector Machine!

A Santa index,
A Santa Claus game,
A Santa benchmark,
The answer’s the same;

IndeZy is coming to Z/Yen,
ExtZy is coming to Z/Yen,
PropheZy is coming to Z/Yen.

The boys and girls in Z/Yen-land,
Want to know the reason why,
Each name has got to start or end,
With a Z and then a Y.

They’re eaZy to use,
They’re peaZy to play,
No sleaZy abuse,
When done the Z/Yen way;

IndeZy is coming to Z/Yen,
ExtZy is coming to Z/Yen,

Here’s Bruce Springsteen’s version of Santa Claus Is Coming To Town:

I seem to recall that a very good time was had by all that evening.

Surreal Things Exhibition, V&A, 2 July 2007

Janie and I tended, even in those days, to take a day off work on the Monday after going to an international cricket match on a Sunday. We went to the ODI at Lord’s on the Sunday and I’m pretty sure we walked back to the flat after the match.

We had been talking about going to see the surrealism exhibition at the V&A for some time, so the Monday after the match seemed an ideal opportunity.

Here are some on-line artefacts about the exhibition:

We both really liked this exhibition. I can’t for the life of me remember what else we did that day. Probably not a lot.

A Quite Interesting Sunday Evening In A Television Studio, 26 January 2003

John Lloyd – with thanks to Amnesty International UK, CC BY 2.0 via Wikimedia

Since moving on from the parental home, in which television played a central part, I have not been much of a television viewer at all.

But I did once spend an evening in a television studio, along with Janie, watching a pilot for a show that eventually became QI (Quite Interesting). I remembered the evening in question while having lunch with John Lloyd (the producer of QI amongst other hit TV programmes), Brendan May and Michael Mainelli in December 2017.

My diary was not very helpful for this memory…

…but I’m pretty sure that the “@6:30” appointment that Sunday evening was the television studio on the South Bank for that pilot show.

As I recall it, Brendan May had suggested that Janie and I join him to form a supporting posse for the first pilot TV show as part of John’s “Quite Interesting” initiative, about which we had talked at some length with John over the preceding months.

The conceit of this pilot version of QI was a panel show in which members of the audience asked questions of the panel. The panellists would then try to answer the audience questions with interesting answers. A cross between a quiz show and Question Time.

Brendan was there, with his (then) girlfriend Caroline Woofenden, plus Caroline’s sister, Susie. Once Janie and I joined, we were a posse of five.

I’m sure John had rustled up some other friendly posses and in any case had plenty else to do that evening, but I recall him taking the time to greet us warmly and to ask if Janie and/or I wanted to ask a question of the panel. We both said no, but John made absolutely sure that we really didn’t want to participate before letting the matter go.

Brendan, on the other hand, had turned up with a tricky question for the panel, which I recall was a slightly obscure (or should I say quite interesting?) question about Mozart. Brendan might recall the exact details of his question.

Wolfgang Amadeus Mozart, a quite interesting man, public domain image, source:
https://commons.wikimedia.org/wiki/File:Wolfgang-amadeus-mozart_1.jpg

This pilot show was hosted by Peter Snow, best known (at least to us) as the face of the election results on election nights.

I recall that the show was to be titled Beat The Database rather than QI. The conceit of the show in that pilot form was the idea that the panellists were aiming to provide better answers than a database of facts. “Better answers”, in this context, meant being more interesting while avoiding common fallacies.

I remember all of our posse agreeing, after the pilot, that we thought the show should do well.

I recall watching the QI TV show when it was first broadcast, a few months later. I  was rather disappointed with the changes to the format, in particular the absence of audience questions and the switch from precise, game show scoring to “I’m Sorry I Haven’t a Clue”-style comedy scoring. Only the inclusion of Stephen Fry as host seemed, in my inexpert  opinion, like a good swap. Brendan agreed with me.

I remember Janie saying that there was no qualitative difference between the two formats to her eyes, while admitting that this is not really her sort of show anyway and that she hadn’t really enjoyed either format.

Caroline felt that that the QI format was much better than the Beat the Database pilot we had seen. I also remember Caroline gently berating me and Brendan for criticising the changes, reminding us that we are hardly typical TV audience. “If John Lloyd designed his programmes on your advice, he’d be producing programmes for an audience of two, neither of whom ever get round to watching TV anyway,” said Caroline, with words to that effect. She had a very good point.

But as this piece is about QI, I should record a couple of quite interesting things emerging from my process of writing this Ogblog piece.

The pilot we witnessed in January 2003 seems to have got lost in the recorded history of QI, certainly if Wikipedia at the time of writing is anything to go by.  Click here for a December 2017 scrape of the Wikipedia entry for QI. The existence of this Ogblog piece might itself lead to a Wikipedia correction of course – it wouldn’t be the first time – Ogblog has a social history function too, you know. QI elves should be crawling all over Ogblog like a rash by now, if they aren’t already.

A more serious reflection, though, emerging from our lunchtime conversation with John in December 2017, is that the idea of QI originally was much, much bigger than a single TV show.  The QI initiative set out to transform learning in society comprehensively. The idea was to take advantage of our additionally connected world of knowledge, exploding the “boring, encyclopaedic” approach to facts and teaching, not least rote learning, as  passé (no longer particularly useful) and insufficiently engaging for most human beings. Curiosity-based learning, arguably, is both much more fun and much more useful too.

Over lunch in December 2017, John bemoaned the fact that, nearly 15 years on, QI has not really progressed much beyond being a hugely successful TV programme. I recalled discussing the idea with John all those years ago; the TV show was intended to be the mere vanguard of this emerging curiosity-based learning movement. That thought also brought to mind the evening I spent at Brian Eno’s place a couple of weeks previously with the Economy team and ideas on how economics could be taught to youngsters using a vastly different approach from conventional neo-classical equations and simplistic “truths”.

Time for me to mix in a bit; the results might be quite interesting.

A Quite Interesting Postscript

On seeing the pilot for this Ogblog piece, John Lloyd kindly chimed in to correct my general ignorance about QI, Beat the Database and no doubt more besides:

Jane Root, then Controller of BBC2, commissioned THREE pilots from the QI project, to be co-produced with Talkback.

 

The first one we made (in 2002) was QI, which had a very similar feel to the present format, but without the closing ‘General Ignorance’ round with its forfeits.

 

We did have forfeits in the pilot, but they were dotted through the show randomly. And we did have a General Ignorance round, but it was the first of four rounds and involved things people didn’t know about generals.

 

It was Jane’s idea to conflate the two ideas and close the show with a ‘General Ignorance’ round, where most of the forfeits have ever since been clustered.

 

This was partly a brilliant insight – because she immediately grasped what the show’s signature idea would be – and partly a disaster – because if a question is flagged as ‘General Ignorance’, the panel realise at once that, if they ‘know’ the answer, they will be penalised. This has dogged us almost since the start.

 

The other two pilot programmes were called Beat The Database with Peter Snow, and Smartass, which would have been hosted by Jo Brand.

 

At the pilot of Beat The Database in 2003 (that you attended with Janie) Brendan was not a member of the audience, but actually on the panel as a ‘member of the public’ – the other two panellists being an ‘expert’ (the US philosophy Professor Steve Erickson (who was a friend of mine and Brendan’s) and a ‘celebrity’ in the form of Gyles Brandreth.

 

Unlike the preceding pilot of QI (which was indeed hosted by Stephen Fry, albeit as a last-minute stand-in for Michael Palin) and which we all thought was genuinely fresh, Beat The Database was not accounted a success by the production team.

 

Partly because Peter Snow didn’t get the idea until two-thirds of the way through (he thought the panel were lying), and partly because the QI Database that the panel had to ‘beat’ wasn’t then big enough to best them.

 

Still, at the time, we thought it was good enough (after what we had learned) to go to a series. However, after a three-month silence, I rang my BBC commissioner to ask if he’d watched the show.

 

“No”, he said, “Why would I? We’ve already commissioned one series about interesting information, why would we want another?”

 

That says it all, really.

 

And Smartass with Jo Brand (though it had been paid for) was never made.

An Attractive Young Note In Janie’s Diary, But Not In Mine, 14 November 1999…Or Do We Mean 12 November 1999

In Janie’s diary for Sunday 14 November, but not mine, the following reminder – presumably based on me saying to Janie, “let’s not forget to listen to…”

The Attractive Young Rabbi. Barry Grossman. 11:30 Radio 4.

Word must have reached me through the NewsRevue community that Barry Grossman’s radio series, The Attractive Young Rabbi, was about to broadcast.

What do you mean, you missed it at the time and now can’t get hold of it?

What do you mean, you heard it at the time but can’t remember it?

It’s there to be heard on the Internet Archive if you now where to look. Click this link, for example, and you’ll find the first series.

Tracy-Anne Oberman was also a NewsRevue (or more specifically, SportsRevue) alum, so this series was definitely a tribute to our NewsRevue “Class of ’92”.

There’s Barry in the Guinness World Record photo, with specs, holding the award.

I enjoyed listening to The Attractive Young Rabbi again. It is quintessentially BBC Radio Four comedy.

Postscript: Barry Grossman Writes…

Thanks Ian, except you and Janey [sic] must have missed it because it was actually on Friday, the 12th of November.

And there were no i-players, BBC Sounds or internet archives in those more innocent times. Perhaps you taped it on your reel-to-reel tape recorder the size of a house and listened to it on the Sunday.

I responded to Barry as follows:

Weird but clearly true that the broadcast was on the Friday not the Sunday, yet the note is unquestionably written in the Sunday section of Janie’s diary. 

My guess is that Janie wrote the note there because the Friday page was completely crammed with patient appointments.  The Saturday block is covered in notes about something completely different and unintelligible.  So the only space for an additional note on that page was the Sunday block. 

Quite right that there was no public domain technology to help us listen at an alternative time, but Janie did have a midi hi-fi thing in the maisonette that would enable you to record onto cassette from the radio.  I was out visiting clients that day, but she would have been able to press the record button on her midi gadget at the appointed hour.  My guess is that the note was a reminder to do that.

No gargantuan reel-to-reel tape recorder available at that time – that device lives in the flat and the flat was being refurbished that autumn.  Probably just as well – Janie was reluctant enough to press a “record” button on a bog-standard midi system.  My reel-to-reel would have seemed like something out of Mission Impossible to Janie…

https://youtu.be/4y9NtHlJvbY

…which would have made listening to the recording on the Saturday or Sunday…impossible.

Jackson Pollock, Tate Gallery, 13 May 1999

As part of a “week off” that Janie and I took in London to see exhibitions and shows, the centrepiece of our Thursday was a trip to the Tate to see the Jackson Pollock exhibition.

The exhibition had been much hyped in the media, with previews and reviews.

Here’s a smattering from the papers.

Bel Littlejohn in The Guardian with tongue firmly in cheek, I shouldn’t wonder:

Pollock Littlejohn GuardianPollock Littlejohn Guardian 19 Mar 1999, Fri The Guardian (London, Greater London, England) Newspapers.com

Laura Cumming in the Observer seemed more genuinely bowled over by the exhibition:

Pollock Cumming ObserverPollock Cumming Observer 14 Mar 1999, Sun The Observer (London, Greater London, England) Newspapers.com

The Weasel in the Indy used a strange mixture of reverence and irreverence to review this exhibition:

Pollock The Weasel IndyPollock The Weasel Indy 13 Mar 1999, Sat The Independent (London, Greater London, England) Newspapers.com

Brian Sewell gave it the usual “Sewage treatment” in the Standard, over two pages:

Pollock Sewell StandardPollock Sewell Standard 11 Mar 1999, Thu Evening Standard (London, Greater London, England) Newspapers.com Pollock Sewell Standard 2 of 2Pollock Sewell Standard 2 of 2 11 Mar 1999, Thu Evening Standard (London, Greater London, England) Newspapers.com

I gave it a one word review in my log:

Bollocks.

Janie remembers the exhibition more fondly than that and I have become reconciled with Pollock since, especially in the context of shirts and ties.

Three Exhibitions In One Day: Kandinsky Watercolours And Other Works On Paper, Birth Of The Cool, New Art – New Era, Royal Academy & Barbican, 12 May 1999

As part of a week off at home, we did a fair bit of cultural stuff. A rare visit to the theatre on the Monday did not work as well as the dinner afterwards…

…but this day going around galleries was memorably good.

We loved the Kandinsky watercolours, but the critics hadn’t been so keen on them, preferring Kandinsky for oils and criticising the way the exhibition had been curated. Richard Dorment in The Telegraph, for example.

Kandinsky Dorment TelegraphKandinsky Dorment Telegraph 21 Apr 1999, Wed The Daily Telegraph (London, Greater London, England) Newspapers.com

Brian Sewell in The Standard was even more waspish.

Kandinsky Sewell StandardKandinsky Sewell Standard 22 Apr 1999, Thu Evening Standard (London, Greater London, England) Newspapers.com Kandinsky Sewell Standard 2 of 2Kandinsky Sewell Standard 2 of 2 22 Apr 1999, Thu Evening Standard (London, Greater London, England) Newspapers.com

Still, Ogblog is not about what those expert geezers think but it is about what we felt. I recall Janie and I really liking that exhibition, so much so that we set off later than intended for the Barbican, where we had chosen to see two exhibitions – in particular David Bailey’s The Birth Of Cool Photographic Exhibition.

We loved these pictures. Who cares what the critics said. Well, actually I think the critics lined up in favour of this one.

Adam Edwards in The Standard celebrated the cool:

Bailey Edwards Standard 1 of 2Bailey Edwards Standard 1 of 2 07 Apr 1999, Wed Evening Standard (London, Greater London, England) Newspapers.com Bailey Edwards Standard 2 of 2Bailey Edwards Standard 2 of 2 07 Apr 1999, Wed Evening Standard (London, Greater London, England) Newspapers.com

Whereas Jonathan Green in The Standard fretted that The Swinging Sixties weren’t so swinging for all. Who knew?

Bailey Green GuardianBailey Green Guardian 17 Apr 1999, Sat The Guardian (London, Greater London, England) Newspapers.com

We also popped in to see New Art, New Era in the other hall at the Barbican

We didn’t spend too long on this sweeping exhibition, little being to our taste, but we did enjoy some of the exhibits.

John McEwen in the Telegraph gave it a comprehensive review:

New Art McEwen TelegraphNew Art McEwen Telegraph 02 May 1999, Sun Sunday Telegraph (London, Greater London, England) Newspapers.com

Brian Sewell in the Standard rubbished the exhibition even more comprehensively:

New Art Sewell Standard 1 of 2New Art Sewell Standard 1 of 2 13 May 1999, Thu Evening Standard (London, Greater London, England) Newspapers.com New Art Sewell Standard 2 of 2New Art Sewell Standard 2 of 2 13 May 1999, Thu Evening Standard (London, Greater London, England) Newspapers.com

Heck, but we’d had a great day. Yah boo.