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Wednesday, 12 September 2012

Reminiscence Of My Garden

I wanted to write something earlier, anything, I didn't care what. The first thing that came to my head just so happened to be the best song in the world was my garden back home in Maidenhead, so I went and wrote 1300 words about my memories of it. This is pretty personal I guess, so it's not getting the usual airing on Facebook or Twitter, b'yeah, it's still tentatively being posted here. I might do a few more of these in the future.


As I slipped gently between childhood, adolescence and finally early adulthood, the time spent in my garden diminished slowly but inexorably. Other interest drew me away from the small green expanse at the back of the house, with the patio, swings and vegetable patch. It was screens mostly, first the television when we got Freeview for the first time in early 2003 then consoles – TimeSplitters 2, Tony Hawk’s Pro Skater 4 and Guitar Hero were the main offenders – and the internet.  Not only that, but as I grew I was permitted more freedoms, and long afternoons playing football at the park were infinitely preferable to kicking a ball against the side of house.

Jumping through the sprinkler in Speedos. Chasing small puddles round the rubberised fabric that formed the den on the climbing frame. Coming away from climbing the tree at the end of the garden, hands sticky with resin. I can remember the curtain-call for each of these. At 9 years old playing around with the sprinkler was fun; the following summer I considered that extremely weird. Eventually we didn’t fit in the climbing frame den so it was dismantled one afternoon, but we still had the swings so that was alright. One afternoon I was in the den bit with my friend from nursery, and his Irish mum came round to pick him up. Neither of us really wanted to get down, so slightly irate she said ‘Get daaynnn niieee, Jornathaan’ (get down now, Jonathan), and it became something of a catchphrase in our house. And the day when the tree surgeons came, bringing tools of destruction upon our little tree, was a day of mourning. Mum said it was killing the surrounding plants, but my grasp of floral imperialism was limited at that point so I didn’t really believe her. All I knew was that the tree was now a stump, and that opportunities for playing with a stump were limited.

Badminton was popular in our house for a while. Dad was the pro, forever catching me out with frustrating drop-shots. Paul was the worst. He was completely shit. He is also three years younger than I and four and a half than Rob, but still. The tantrums were hilarious. To his credit he improved steadily until he was at least reasonably competent. I remember the day badminton was ended forever particularly well because I caused it. Keen for some football practice, I went into the garden and tried to use the net as a ‘wall’. I got it over a few times, then one shot hit it full on, snapping a guy rope, and it collapsed. I never owned up, in fact I actually lied to Dad for some reason, and that was that. Table tennis was a relatively short-lived replacement, but the nightmare of trying to find the stupid little ball in the itchy bush (our garden is littered with itchy bushes) was too much of a barrier to ever invest serious time into it.

Clearly, sport was the main focus in the garden, and the main sport was football. Penalties were fun for a while, although Mum hated it. She was too useless anyway. Then my cousin Matthew began lodging with us, and he could do 96 keepie-uppies. My best effort at that time (around year 4 at school) was 8, so I was suitably impressed (my all-time best up to this point is 92, so I got damn close!). However, ours wasn’t a garden suited to playing football. It was too thin with too many things in the way and too many plants round the edge. Every years the daffodils appeared behind the swings in springs; every year they got flattened by errant footballs and, uhh, feet. I didn’t really give a shit about those daffodils. The aforementioned itchy bushes were the bane of my footballing childhood. I never understood them. They looked like ugly. They were big, they were dense, they were in the way, and they were itchy! Most of the time a broom was required to dig the ball out but frequently I just used to whack the bush in frustration.

Only once did they provide me with any amusement. In one of his many short-lived phases, Paul wanted to improve his football skills so I got him to do a few drills I knew. Obviously the ball kept going in the bush, so I told him that getting the ball out the bush was an important skill. He bought it, the idiot. So I kicked the ball in the bush a few times and he would diligently go and dig it out, getting covered in that itchy powder each time. Simple pleasures.

Our garden was also  home to our guinea-pigs. There were two: a dusty-ginger one called Spike and a black and white one called Ollie. I think we got Spike when I was in year 2, and Ollie a year later. They had a decent innings I think; I can’t remember precisely when they died, but when Spike died the three of us sat and cried in the living room all morning. As Spike got older I remember being terrified that I would be the one to find him dead; we changed their cage on a week-by-week rota so there was a one-in-three chance. Paul ended up being the unlucky one; Dad buried them both by the rhubarb. I don’t remember much of Ollie if I’m honest, he was the quiet, meek one. When he died all I could think was how shit it much have been for Spike to have to share a hutch for a few hours with his only companion in the world lying dead nearby. In retrospect, I neglected them, but thankfully they had Mum to give them attention and broccoli stalks. Consequently they squeaked when she walked past, hopeful for food, but didn’t for me. Once Ollie was dead, Spike got lonely. I walked past his run once and he took a flying leap at the chicken wire in a desperate attempt to escape. I was shocked, and it was awful.

I got in a scrap with Rob over the guinea-pigs once. It was Monday, and the responsibility of cleaning their hutch had fallen to me, but Rob, caught up in the daily routine, forgot it had changed until he was halfway though. He accused me (correctly) of knowing it was my turn all along, and we had our first and last genuine fight. Matthew slunk off to get Mum, who threw us in separate parts of the house to cool off. It took a few days.

I won the fight, by the way (Rob will disagree).

Once the guinea-pigs were gone I could go the whole autumn and winter without venturing out into the garden even once. Then, once the sun came out I would spend half an hour or more each afternoon after school practicing keepie-uppies and ball control. I never really got it; I blame my gangly legs. Though if Peter Crouch could do it…

The last strong memory I have of the garden is a surprise birthday party when I was 17 that my then-girlfriend threw for me, in allegiance with Rob. It was lovely, it really was – just a simple gathering of friends enjoying being together. Also it was genuinely truly a surprise; I got back from shopping in Windsor with Mum and Rob made an incredibly shit reason for me to go in the living room – something about Kenyans running on the telly (possibly the Great North Run) – and I went in and heard giggling then they popped out from behind settees and chairs and stuff. Good times.

Sunday, 9 September 2012

Writers and their Characters' Names

Hello again. Missed me? It's been a while.

I have a theory. The quality of a writer's books correlates very closely with how well-named their characters are. This is basically going to be a list, I've just realised. The reigning champion of character naming is by no coincidence the writer of the greatest trilogy of books, Phillip Pullman. Roald Dahl does well too; as do JK Rowling and Paul Stewart (writer of the Edge Chronicles, a hugely underrated series). It's not just applicable to children's fantasy writers; all-time greats of literary fiction also survive this test.

A quick Google search of the greatest characters in history also reveals a list of the best named characters in history, from many of the best books in history. There's Holden Caulfield, Humbert Humbert, Atticus (and Scout and Jem) Finch, Jay Gatsby, Kurtz and Marlowe, James Bond, Sherlock Holmes, Gandalf, to name but a few...and of course, Shakespeare does alright too. Also the Bible is worth a mention, and not just because the main 'characters'' names have all ended up as Western-mainstays, but because of Methuselah, Solomon, and uh, Paul.

I've mentioned many of these characters a few posts back, but Pullmans array of creations are worth repeating. So, here is the greatest list of character names from one man (from the same book, no less): Lyra Belacqua, Pantaliamon, Lord Asriel, Marissa Coulter, Iorek Byrnison, Serafina Pekkala, Lee Scoreseby, Iofur Raknison, Stanislau Grummann, Balthamos, Baruch, Mary Malone, Chevalier Tialys, Lady Salmakia, and Metatron. Maybe Will Parry's slightly dull name is a reason why I never took to him like I did Lyra (if I ever have a daughter, she's gettin' called Lyra) and the rest. Sally Lockheart from Pullman's other fantastic series also gets an honourable mention.

Having just watched the BFG on telly I've rediscovered all Roald Dahl's fabulous creations. To wit, Charlie Bucket,Willy Wonka (and all the kids in Charlie in the Chocolate Factory); Bruce Bogtrotter, Ms. Trunchbull (Matilda); Aunts Spiker and Sponge (James and the Giant Peach); Boggis, Bunce and Bean (Fantastic Mr. Fox); the Twits (The Twits...obv); Fleshlumpeater, Gizzardgulper, Bonecruncher (and the other giants from The BFG, Manhugger (LOLGAY) notwithstanding). Quentin Blake is also the most fantastically named illustrator ever.

It goes the other way, too. Bad writers that turn out dull, flat prose also lumber their characters with dull, flat names. One of the main reasons I gave 50 Shades of Grey a wide berth is that the main character is the crinegeworthy Anastasia Steele. You can tell she's trying: Anastasia evokes the famous Russian princess with hints of Old World fantasy and seduction; Steele undercuts that with a cool modernism, replete with that extraneous 'e'. However, together to two mix like milk and orange juice, and make me want to vomit. In short, Anastasia Steele is a porn-star name (which, I admit, is apt. But that doesn't make it any better).

Thinking of these bad characters is difficult, because I tend to forget about them.

What makes for a great name? I...I have no idea, really. In the case of Dahl, his characters' names plainly reflect their defining characteristic, none more so than the tall, gaunt, cruel Aunt Spiker and her counterpart, the rotund and piggy Aunt Sponge. Pullman seems to drawn on national naming divisions; his characters with religious relevance drawn on Latin (Baruch and Balathamos for instance); Lee Scoreseby is indelibly Texan, Iorek and Iofur Icelandic (I think); while Lyra Belacqua is just fantastic, wild yet dignified, classical yet modern, and beautifully mellifluous (cheers thesaurus).

Wednesday, 27 June 2012

Bootleg Fireworks: Anatomy of the Perfect YouTube Video

I found it, at last. It's taken about five years but now it has happened. I have found the most perfect video on the internet. Here it is:


Remove the commentary, the burning bush and the Jesus counter and you've still got an awesome video. The initial weak fizzy fireworks rapidly escalate into a full-blown mortar strike, right in some innocent street in 'Murica somewhere. It's intense, scarcely comprehensible chaos, and it actually puts things like the D-Day scene in Saving Private Ryan to shame in terms of its 'holy-crap!' factor. It even has that temporary deafness effect following the closest firework explosion. Epic.

The Commentary

We've just moved from 'great' to amazing. Whoever is behind the camera, I salute you. First of all, this guy knows how to shoot video. Even though shit is going crazy all around him, he keeps that camera steady. Not a lot of people could do that. If fireworks started blowing up at my feet I'd curl up and cry like a baby. But forget his camera skills, that's small-fry. This is one YouTube friendly guy. He is so awesome. His 'Jesus' freakout is great, then after the fireworks stop he shows great awareness of being part of something epic. His fear is gone, adrenaline is pumping: 'DAT WAZ AWESOME. DAT WAZ AWESOME RIGHT THERE. NAAW. DAWW.' Fuck, yeah it was. And then: he sees a burning bush. It seems, every YouTube commentator has taken their time to point out the incredible irony of a dude shouting 'JESUS' at a burning bush. That's not even irony, bitches. But who gives a crap about that. The burning bush incident is great because it brings out the immortal line, 'GET DA WATER NIGGA!'. What a line. What a moment, one made all the funnier by the lameness of the fire. It's barely smouldering. But to this guy it's a cataclysm. GET DA WATER NIGGA! He's not done yet though. There's one more trick up his sleeve. The catchphrase, the line that gives the video its title. 'MOTHERFUCKING BOOTLEG FIREWORKS!'. Catchphrases are essential. Think, 'I like turtles', or 'Charlie bit me'. Every great video needs one. And this is one of the best. The 'motherfucking' tells us this video is sufficiently gangtsa. The 'bootleg' denotes how badly (but for us, brilliantly) the situation became, and the 'fireworks' tells us what the video is about. That last bit might be lame, but fireworks are awesome enough to make the preceding two 'markers' even more awesome. If it was something like 'motherfucking bootleg DVDs' then it would be an order of degrees lamer. But it's not. It's fireworks. Dat shit cray'.

The Overlay

There is one last awesome element of this video, that guarantees it (if it weren't already) a place in the pantheon of YouTube great. It's the 'Jesus counter' and the subtitles. This is its YouTube-iness, the subtle laughing at the video's protagonists, but also with them, emphasising their quirks. I like the bit where the dude says 'REEKRIS' and it add's 1/2 to the Jesus count.

In all, this is the perfect YouTube video. It has something awesome and unusual - fireworks going off at ground level. It has something hilarious (featuring an ethnic minority - YouTube loves that). And it has some hilarious back-seat mickey-taking. And and, it comes in at one minute exactly. One minute of heaven.



Sunday, 17 June 2012

Alter Egos Round II: Messi vs Ronaldo

Good versus Evil. God versus Satan. The Jedi versus the Sith.

Lionel Messi versus Cristiano Ronaldo.



The two have been summoned by history to enact the greatest and most evenly fought rivalry in the history of football. They are equal yet opposite: both score obscene, fearsome and record-breaking numbers of goals, but their ability is as balanced as their temperaments are different. It transcends mere rivalry, however. It is a clash of morality, of good versus evil.

Ronaldo is obviously the evil one and Messi is obviously the good one. They contrive to embody these qualities is absolutely every way possible. Messi plays in Barcelona, whose Catalan inhabitants fought in the Spanish Civil War against the Fascist rule of General Franco, who was based in... Madrid. Where Ronaldo plays. Messi represents unfettered, un-cynical, honest boyish enthusiasm. He seems immune to the ego-inflating trappings of fame, success and fortune. The vampiric media have thus far been unable to sully Messi's reputation one bit, and that is surely not through lack of trying. No hookers, no outbursts, no petulant behaviour. Ronaldo on the other hand...

Hookers. Outbursts. Diving. Modern football is frequently criticised as having been over-inflated by television money, widening the gulf between players and fans, driving egos and eroding ingrained perceptions of how football should be played, i.e like 'real men'. Ronaldo seems to play up to every one.  Ronaldo's penchant for diving sums this up most clearly. This is a man apparently blessed with everything one could need to succeed as a footballer: skill, fitness, speed, stature and mental resilience, and despite this he resorts to play-acting and brazen cons to get his way. It rankles no end.

In contrast, Messi never dives.



Their personalities seem to be reflected in their playing styles. Messi is a lover: deft, precise and is as concerned for the team effort as his own success; Ronaldo is a pornstar: his play revolves around overt physicality, who bludgeons opposition to submission with strength and power. His assist count is pitiful in comparison. Rob Smyth in the Guardian said of Bulgarian legend Stoichkov that he is 'not a footballer that believes in foreplay', and that pretty much sums Ronaldo up.

Reinforcing the dichotomy is La Liga itself, which has become effectively a tussle between Barcelona and Real Madrid: this year Madrid won with 100 points to Barcelona's 91; in third place was Valencia with 61. There are no third parties in this rivalry. It's not so much a gulf as a wholly separate competition. The Barcelona style of play revolves around technique, skill and speed of thought, whereas the Madrid team is built on physique and brutal counter-attacks. Both work equally effectively; Barcelona won the league (and basically everything else) in the first two years, but Madrid closed the gap and won emphatically in the year just gone.

It took Ronaldo's arrival in Madrid to kick-start the rivalry. Ronaldo had won World Player of the Year in 2008 with Manchester United; Messi came second. In that season, Ronaldo had scored 26 goals, and Messi had scored 38. Both impressive totals, but looking back they now seem pitiful in comparison: in the 2011-12 season, Messi scored seventy-three goals while Ronaldo bagged sixty. In the three years since Ronaldo joined Madrid, he has scored 112 league goals and Messi has scored 115; Ronaldo's scoring rate with Madrid is slightly above a goal a game. Holy hell, guys. Without evil there can be no good, and Ronaldo's transfer to Spain has vindicated both players, pushing them to ever-greater heights.


Sources:
http://sportnomics.com/wp-content/uploads/2012/03/ronaldo_vs_messi_3.jpg
http://imgur.com/oY43g
http://messivsronaldo.net/
http://www.wikipedia.org

Wednesday, 30 May 2012

Living the Dream

I was gonna do this as a blog post but ended up writing it for the uni paper. It's about that one time I ran at the Olympic Stadium and raced Harry Aikines-Aryeetey (though I actually didn't mention that last bit).

Clicky Clicky

Friday, 18 May 2012

The Amber Spyglass

Allow me to wax lyrical about The Amber Spyglass for a moment. Phillip Pullman's closing chapter to the His Dark Materials (what a great name for a trilogy!) is my favourite novel ever, and maybe even my favourite work of fiction regardless of medium. Yes, even my beloved In Bruges would struggle to overcome The Amber Spyglass in a battle for my affections.

My love for it has grown steadily since I first read it as a wee lad in 2003 or something. It took me seven years to re-read it, and it was even better the second time round. And those are the only two times I've read it. Twice would feel like a paltry number of read-throughs if it didn't sear itself into my memory to the extent that it has. So many beautiful images stuck with me and never faded: Mary Malone's realisation that the mulefa have evolved with the trees; the freed ghosts stepping out into the light, momentarily blinking with pleasure before their atoms are dispersed and scattered into nature; the image of God, crippled and weak, dying abandoned; and of course Lyra and Will's tearful separation (to name but a few).

It's the most cohesive fictional world I've ever encountered (second place goes to Robin Hobb's Farseer trilogy, but that's a blog for another time). Everything just makes sense. I'm struggling a bit to articulate how it makes me feel, but there is just irrepressible sense that Pullman hasn't created a world, rather discovered one. Harry Potter, for instance, is fantastic in imagining the big details, but too much of it doesn't make a whole lot of sense (What do the adults do? What's wrong with mobile phones? Time-turners?). There are no such holes in His Dark Materials. Take the daemons for instance. They change shape with ease in the pre-pubescent years, before slowly settling down on a particular form, one that reflects or compliments the personality of their human. What a freaking perfect metaphor for childhood. And when Pantalaimon settles, Lyra loses her ability to read the alethiometer. It just feels like the best way of evoking the inherent talents of kids for understanding personality, before they grow older and less adaptive.

Mary Malone happens upon a whole new world, unexplored by reader or characters in the previous two installments, the world inhabited by the mulefa. It is the most breathtakingly beautiful depiction of an undiscovered ecosystem, combining an engrossing account of Mary's slow understanding of the mulefa and their customs with a gentle refutation of creationism. Pullman was bold in casting aside all likeness to Earth, instead examining the basic mechanics of life and nudging them in a different direction. The mulefa are weird and move in strange ways, yet just feel possible. 


Pullman's approach to religion is basically to tackle it head on. The Authority, his take on the Catholic Church, is an oppressive force. The Church's attacks on free thought is embodied by the angel Metatron, who tears from the sky wielding a great spear, destroying any perceived threat to his organisation. More powerful than a human alone, he is eventually toppled into an endless void by the combined efforts of Lord Asriel and Mrs. Coulter, who go down with him. One fantastic side of the religion debate is the two homosexual angels, Baltamos and Baruch. There's no sex, obviously, but it's clear that their love is more than just friendship. Cast from heaven, endlessly pursued, and in a weakened state, they are amongst the most courageous characters in the book. And in a month when North Carolina voted against gay marriage, Baruch and Balthamos feel particularly pertinent.

Pullman also has a knack for names. Lyra Belacqua. Iorek Byrnison.Serafina Pekkala. Lord Asriel. Marissa Coulter. Lee Scoreseby. Cittagaze. Anbaric. Daemons. Alethiometer. Mulefa. Pantalaimon. All of them are so evocative. Especially anbaric. It simply means electricity, but sounds so much rawer, untamed and dangerous. It's one of my favourite words.

Another favourite: Lord Asriel. He's my favourite character in all of literature. Immensely proud, extremely intelligent, volatile, powerful, dark, charismatic and ambitious. He blows a hole in the sky, takes on God and wins. Magnificent bastard.

One last confession: The Amber Spyglass is one of the few things I've ever encountered that has the ability to make me cry. I can be a bit stony-hearted, but when Lyra and Will fall in love then discover that their time together is limited, and every possible loophole is closed, and they arrange to sit on the same bench in their separate worlds, clinging to each other... oh man.

Tuesday, 15 May 2012

'Drive' (2011) is Grand Theft Auto on the silver screen.

'Drive' last year's mesmerising neo-noir thriller from Nicholas Windong Refn is million-selling game franchise Grand Theft Auto adapted for the big screen. SPOILERS


  1. The Driver - a stand-in for the player's character in GTA. In San Andreas and GTAIV, the RPG elements mean that you can spend a long time just growing your character: going on dates, going to the gym, getting a haircut, doing jobs - some legal, some not - and so on. Then, out of nowhere, you might decide to assault a civilian and stomp them until their blood seeps across the pavement. Just because. It might (and I really hope it is) be entirely at odds with your personality, but there is it: you just squashed prostitute. The Driver, the nameless protagonist in Drive, is a lot like this. He doesn't say much, he splits his time between working in a garage, as a stunt driver and as a getaway driver, and seems like a nice enough guy. Then he'll flip a switch, and excessively murder an assailant, or turn mean and threatening at a moments notice. It's like he's controlled by a person who, due to lack of consequences, decides to go on a rampage out of nowhere.

  1. It takes inspiration from 1980s set Vice City - the glorious pink typeface that adorns the promotional material is Vice City through and through; the scorpion jacket The Driver wears throughout and the Cadillac he drives is retro in feel; approach to technology is old-school; the neon hues and gaudiness also feel very 1980s; the retro soundtrack is also unashamedly 1980s

  1. The Driver's missions feel like videogame missions. The opening cat-and-mouse car chase between The Driver and the L.A.P.D feels like a stealth mission: the pang of worry The Driver (or at least the audience) feels when the spotlight singles out his car is not unlike the big exclamation mark that appears above enemies heads in the Metal Gear Solid series. There are on-foot missions: protect Irene from the hitman; defeat the shotgun-wielding thugs; extract information from Cook; the final showdown with Bernie. There are driving missions: the aforementioned night-chase and the escape from the anonymous pursuers after the botched robbery.

  1. The cosmopolitan array of characters - The white people (The Driver, Irene, Blanche), the Latinos (Standard Gabriel, Benicio), the Jews (Bernie and Nino). I can't remember any black or Asian characters, so maybe it's not that cosmopolitan, but it is still quite. GTA is full of characters of every race and creed imaginable.

  1. The police give up easily - after The Driver escapes in the opening sequence (possibly too easily: they did have a night-sun after all) the police seem to give up. You can almost see his wanted rating blinking out towards zero. There is no follow-up to the numerous bodies he leaves lying around, and at the end Bernie doesn't even mention any the trouble with the law The Driver might face should he stick around in town.

  1. Have I mentioned that it revolves around crime yet? That's an obvious one. 
  2. A variety of cars
  3. Overhead shots of downtown L.A that look exactly like the early top-down GTA games.

P.S I know all the points are labelled point 1, blogger has a whack formatting system that meant I couldn't insert images between bulletpoints.