Green Empire Strikes Back is a blog for the provocation of thoughts that might be about sustainability, or might not. It is a window into the brain of Andrew Wood, and you are welcome to peer in through the curtains, or smash the glass and do some looting, depending on your mood.
Monday, 30 November 2009
A million carbon calculators later, here I am
Wednesday, 25 November 2009
Travel news from Ethical Man
Thursday, 19 November 2009
Can Science Save Us?
Monday, 16 November 2009
Are you the right age?
Thursday, 15 October 2009
At last, my car is redundant
Wednesday, 29 July 2009
A Flask For All Seasons
Friday, 24 July 2009
We're S.H.O.P.P.I.N.G.
Tuesday, 14 July 2009
Five words for the next generation
Wednesday, 22 April 2009
When will there be a budget for the world?
Tuesday, 14 April 2009
Grand Cleft Auto
Tuesday, 24 March 2009
No Alarms and No Surprises
Friday, 20 March 2009
City Daydream Songs
- You’ve all been there. You’re sitting or otherwise loitering in a public place, and one of your favourite songs starts to ooze out of invisible speakers. Your first reaction is a twitch of a smile and a languorous intake of breath, preparing yourself for the enjoyment to come. Ah, the excellence of your musical taste! Who is the kindred spirit who chose the music? Now comes a suspending of time, as you decide to ignore your companion or even miss your train in order to get the song in that special context. Then a disappointment when the next song reverts to unrecognisable muzak. And finally a nagging worry that, because you’re in a chain coffee shop, your favourite tune has been selected by an accountant, thereby dismissing your musical moment as a droplet in the oceanic, corporate, easy-listening soundtrack to our working days.
- What grips you about this experience is that it isn’t so much a highlight of your day as a gap in it. It’s like a very short siesta. For roughly three minutes everything around you, the work worries, the phone calls, the office politics, the self-important lawyers talking too loudly at the next table…..all melts away and you go into a sweet, indulgent reverie. Unless your companion won’t stop talking, in which case you make a mental to kill them later, when they aren’t expecting it.
- That gap is your chance to manipulate time. No matter what else is happening, that song is your excuse to make time stand still, or to spend those few minutes at another moment in time altogether. Maybe the song was on when you first made love, or when your lover told you they were leaving. Maybe the song has been through enough experiences with you that it means everything and nothing.
- Recently Mick Jagger was quoted as saying that the three and a half minute pop song is an absurdity, but one that seems to be standing the test of time. Mick, I have news for you: it is not an absurdity, it is an increment of time. You know how long it is going to last from the moment you hear the first chord. Your next 250 heartbeats are accounted for. The predictable flow from intro to verse to chorus, and so on, is a rock on which you can stand and safely watch the chaos around you. It’s long enough to let you catch your breath, short enough not to outstay your attention span.
- So there’s nothing worse, is there, than when that song comes bursting out of your radio, or leaping spontaneously from the walls of a supermarket, only to be amputated in full flow by some idiot DJ who thinks we’d rather hear his self-satisfied prattle, or by Janet beckoning Darren to the checkout, or –worst of all – by a newsflash that rudely smashes the inherent shittiness of the world through the brittle privacy of your daydream.
- All of which leads me to think that it’s high time for an answer to Desert Island Discs. Sure, if you were left alone on a sunny island for weeks or months on end, with ten songs, a pack of cards and a Bible, you’d probably pick the longest pieces of music you know, to give you chance to listen to them all the way through, time and again, without Kirsty Younge cutting in and sexily, but – let’s face it – annoyingly, stopping Bach’s B Minor Mass after 25 seconds to ask you about the time you took LSD with a gigolo. Besides, it’s a surefire way to become sick to death of music you’ve always held dear, and that, if nothing else, would probably make you want to end your time on the island by getting extremely drunk and then going for a snorkel with the stingrays.
- Remember those charity adverts? Give a poor family a bag of flour and they can eat for a week. Give them a bag of seed and they can eat for a lifetime. Or something like that – and it’s true. Well, Desert Island Discs is a bit like that, isn’t it? Marooned on an island with ten songs you know inside out, and love like old friends, and after two days you’ve grown to hate them and you contemplate a watery grave with the bleak emptiness of a religious zealot who has lost their faith. No. Do not be tempted. Forget those songs. Leave them behind waiting for a triumphant homecoming if you survive your ordeal. Instead, take a harp and learn to play.
- No, no, what we need is Fleeting City Daydream Songs. You are given a chance to pick ten songs that you may not own or, even if you do, haven’t heard for ages, but they do have a knack of changing your mood and shaping your day when you hear them coming out of the pores of the city. Here’s one for starters: Beck’s Devil’s Haircut. My ex who owned Odelay but I confess I never really got it. The muso in me feels I really should get Beck, but it doesn’t happen. What I do remember vividly is seeing Beck on Later….with Jools Holland, where he was trying, and failing, to teach the wooden boogie-woogie hero how to pronounce ‘Odelay’. So I am trudging heavily down Chain Pub Drag, and sneak a shortcut down Binge Drinker’s Walk. Half way along is a Goth shop selling clunky boots and things, and oozing joyously from its open door is Devil’s Haircut. The daydream begins….
- Jenny was a Goth, about 19. She dreamed of being a hairdresser, doing those full-on punk-goth jobs on nice blokes with metallic faces. She noticed how hairdressing salons all have puns for names, like Curl up and Dye, Headmaster, Hairforce. One day, she said, I’m going to own a salon, and walking in will be like getting on a Ghost Train. Maybe there could actually be a Ghost Train, and it spirals up to a really light, white attic room with a huge mirror, and that’s where you get your hair done, and then when you’re finished you get back on the Ghost Train and you go all the way down to the cellar, where there’s a really, really dark tea bar. And the front of the shop will have these huge periscopes, so that passers-by will see the white salon and the dark tea bar, and it’ll attract my ideal customers and frighten the hell out everyone else. And I’m going to call it Devil’s Haircut……
Thursday, 19 March 2009
Dickensian Walkways
Thursday, 5 February 2009
Sustainable Travel Advice # 1: Sheffield to Finisterre
1. Travel by rail. Finisterre can be reached by sea or by air, but rail is morally and socially best, even if you are unconvinced by the environmental arguments. Why? Simple. On trains you are still treated as a civilised human being wishing to reach B, from A, in reasonable time and comfort. On boats, the experience of the sea is marred by 'on-board entertainers', and the strange idea that you might wish to buy perfume in a force 7 storm. And on planes, you are regarded as an unlikely hybrid species combining rampant consumer of processed foods, illegal immigrant and terrorist, too bent on evil to notice the internal contradiction in the demand "relax and shop".
2. British public transport is not well-tuned to the manoeuvring of increasingly large drag-along suitcases. This can be annoying. French public transport, on the other hand, is carefully and specifically designed to inhibit such luggagey monstrosities. The sight of a British passenger being surgically separated from her suitcase by an automated Metro platform barrier, modelled mockingly on La Guillotine, is enough to lift the spirits of even the most dispirited traveller.
3. If embarking on a 7 hour train journey be careful not to stub yout toe violently on the edge of the shower cubicle in your London hotel room just before setting off, as this makes the journey rather less comfortable, though it will make you very grateful not to have chosen 'road' as that most foolish travel mode.
4. 'Paris' is in fact a vast network of tiled pedestrian tunnels. The above-ground former city of Paris was demolished brick-by-brick in the 1920s by the misanthropic architect Le Corbusier, and moved to South America.
5. A good way to blend in in Paris is to pretend to be the subject of an arthouse film featuring a moody bohemian, minimal dialogue and dimly lit tracking shots in long, tiled, pedestrian tunnels.
Bon voyage!
AW.
Monday, 26 January 2009
Art House Days
I am currently running a little art exhibition at the Art House, Wakefield. The exhibition shines a few, tentative watts of electric light upon the elusive values that the landscape offers artists, and in turn (perhaps) the ways in which artists influence our view of the landscape and what it means to people.
As a photographer I know that the landscape is devilishly difficult to capture. Who would think that something that is so blatantly just there, and so much a part of our lives, could somehow elude being adequately captured by a camera. Looking at the photos in the exhibition it seems to me that it is the details, close-ups even, within the landscape that are most effectively articulated in art. What's more, the landscape only exists in that moment when it is pictured: sure, the same place might be there all the time but every time you look at it, visit it, it is slightly different. Even in painting, the same might be true: one picture in the exhibition is of Robin Hood's Bay, and simply uses colour to distinguish between land, sea and sky, but that use of colour seizes one moment in the individual's experience of that landscape.
I chose to dedicate this blog post to Kate Bush and Tony Hart because they are artists who, in my view of the world, have mastered the capturing of a moment, but in very different ways. Kate's music is personal, playful but not really accessible: much of it, from Wuthering Heights through Running up that Hill to her recent(ish) Aerial album conjures landscape (the same way that, for me, Pink Floyd's Wish You Were Here has always conjured a dejected view over a windswept seashore, somewhere where there is an industrial scar just behind the scene so that you daren't turn around and break the spell) - and this is the only way to get an insight into the music - to see it. Tony Hart, on the other hand, made his career out of helping people - from their youngest years - to access art: he put the daubings of his young viewers on the television, he showed how art is created, he showed you how to look.
You could say that Tony Hart enabled me to listen to Kate Bush. Though I'll never be a painter.
AW.
