Up against the curtains

We had our first taste of the Folk Alliance experience last night. The event is unusual in that all of the showcase gigs (which form about 50 per cent of the event) happen in the actual hotel rooms – so you wander along the corridor on floor 11 and there’s a folk trio with an accordion in room 1179, and next door there’s a ballad singer from Ohio with a keyboard.

Two doors along the corridor from that there’s a room devoted solely to artists from Alberta, where they hand you a Steamwhistle beer and you sit down and listen to everything from mother & daughter harmony trios to hard-time honky-tonk bards.

It’s a great leveller, actually. No matter how many albums you’ve put out, or how good your publicity is, or how great thy beard, you still have to stand up against the curtains with no amplification, in a poorly-lit hotel bedroom and play your songs to the 12 or 14 people who have squeezed in, sitting on the bed or a few assembled chairs. It’s like a rolling audition.

And of course you can NEVER tell – the guy with the cool pork pie hat and the expensive guitar produces three of the most leaden songs I’ve ever heard. I was actually in the act of forgetting them right as he was singing them. But the bewildered looking skinny girl with a mandolin has material you’d give your right arm for.

And the corridors are filled with all kinds of folk refugees – from white haired veterans with ponytails and baseball caps down to bearded Mumford-alikes in Converse sneakers and tweed.

Meanwhile, the ‘official’ gigs are happening downstairs in the hotel conference suites. The Delta Chelsea has a second floor that is nothing but conference rooms of various sizes. Over the course of the next few days, everyone from Sam Baker to Judy Collins will perform here. And we will divide our time between these gigs and the crowded corridors upstairs.

Outside Toronto gleams in the winter sunshine. It’s icy cold here, but the pavements and roads are clear and we’re right downtown, with lots of restaurant and coffee choices if you want to get away from stringed instruments for a while.

We’ve discovered a little eggs & sausage diner down the street from the hotel, and it has become an unofficial Folk Alliance breakfast hangout spot. Everybody’s handing each other fliers over their waffles and coffee.

We’re working the rooms, and constantly bumping into opportunity – this guy runs a series of house concerts, that person books a festival in Colorado. This one has an online radio station looking for new content. And we’re constantly picking up people’s contact details and finding out what they’re looking for – the hard work will be piecing together a plan from all of this when we get home.

Anthony's travel anxieties - Part 117

Drinking airport beer and eating oysters with Andrea en route to Toronto.

I’m still shuddering from the disconcerting experience of arriving in Newark airport, where as soon as you clear the glum Ellis Island-esque queue of Arrivals, you proceed to the ‘bag re-check area’.

This is an open part of the airport concourse where you hand your luggage (and in my case a very precious instrument) to a bunch of guys with no uniforms or name tags, just guys with bar code readers who step up and take the luggage from your willing hands, and who don’t say a word or make any eye contact at all.

It reminds me once again that when we’re in transit we invest an enormous amount of faith in complete strangers. In this instant, this split second, we decide to trust that the people who grab our luggage, without even grunting at us, will make sure that it actually gets on a plane with its nose pointing towards Canada.

I tip another oyster into my stale mouth and realise that I have nothing to show for this exchange. No receipt, no tag, nothing. For all I know, the enormous Fall of Saigon-scale pile of luggage could be halfway to Brooklyn in an unmarked van by now. I could be the latest victim of the Bar Code Scanner Gang. Four guys who found old bar code readers in a junkyard and had a bright idea.

Come to think of it, did I actually hear a ‘beep’ during that exchange? I don’t THINK so. Did I ACTUALLY see that familiar tremulous red line cross the barcode on my guitar? Nope.

I have a cold sweat that I’ll arrive at Toronto and some practical minded Canadian at the airport will look at me in the Baggage Reclaim area and say: ‘You did WHAT? Who WAS this person? You just GAVE your luggage to a guy with a BARCODE READER?’

And I will stand there, speechless and stupid, stupid, stupid.

(postscript – the luggage did turn up, of course. And yes, airport beer and oysters are expensive)

Woody Allen on the doubts that follow all creativity

From the recent Oliver Burkeman interview with Woody Allen in the Guardian - he says it wonderfully about the doubt that assails anyone involved in the creative process:

“I have an idea for a story, and I think to myself, my God, this is a combination of Eugene O’Neill, and Tennessee Williams, and Arthur Miller... but that’s because when you’re writing you don’t have to face the test of reality. You’re at home, in your house, it’s all in your mind. Now, when it’s almost over, and I see what I’ve got, I start to think: what have I done? This is going to be such an embarrassment! Can I salvage it? All your grandiose ideas go out the window. You realise you made a catastrophe, and you think: what if I put the last scene first, drop this character, put in narration?”

These fusillades of self-criticism, you sense, aren’t false modesty, nor real terror, but something else: the musings of a veteran who has long since come to terms with the fact that his creative process will always be a long slide into disillusionment. Nine times out of ten, he says, when he leaves the screening room of the first rough cut: “The feeling is: OK, now don’t panic.” The other 10% of the time, it’s “OK. That’s not as bad as I thought.”

A Poem for Monday - River by Carol Ann Duffy

This was the poem that Andrea and I selected to be read at our wedding, by the Gatineau River on August 3rd 2011. It seemed to sum up everything we had to say about each other, the location and the time in our lives. And it remains true, relevant and spellbinding every time I read it - like it had been written for us.

River by Carol Ann Duffy

Down by the river, under the trees, love waits for me

to walk from the journeying years of my time and arrive.

I part the leaves and they toss me a blessing of rain.

 

The river stirs and turns consoling and fondling itself

with watery hands, its clear limbs parting and closing.

Grey as a secret, the heron bows its head on the bank.

 

I drop my past on the grass and open my arms, which ache

as though they held up this heavy sky, or had pressed

against window glass all night as my eyes sieved the stars;

 

open my mouth, wordless at last meeting love at last, dry

from travelling so long, shy of a prayer. You step from the shade,

and I feel love come to my arms and cover my mouth, feel

 

my soul swoop and ease itself into my skin, like a bird

threading a river. Then I can look love full in the face, see

who you are I have come this far to find, the love of my life.

Making new friends at the checkout

Queuing is the great leveller – it brings you face to face with the world. Yesterday I found myself in line for the self-service checkouts at Tesco on Royal Avenue, Belfast. A sullen-faced woman was attempting to scan her Mail on Sunday, but without success, so she was performing a kind of low-velocity swordfight with the scanner.

In front of me was a guy in his mid-20s with cropped hair, a dirty hoodie and a pair of jeans, soaked from the knee to the cuffs. He was carrying a two-litre bottle of cider. At one point he turned to look at me and revealed an angry-looking cut across the bridge of his nose, a fat lip and a huge black eye.

He gave me one of the most hate-filled, savage looks I’ve ever received - and turned back to wait his turn for the next scanner.

And I stood there, with my little handful… ginger, some medium-hot chillies and a bunch of coriander. For a Guardian recipe I wanted to try by Hugh Fearnley-Whittingstall.

I can’t remember the last time I felt so middle class.

On the eve of the East Belfast Arts Festival - a personal Van the Man top ten...

 

Well, ladies and gents – only four more sleeps until I become part of the Van Morrison, East Belfast Arts Festival extravaganza – Aircraft Park, Belfast, this Saturday, September 8 for those of you who haven't heard.

I’m performing that afternoon as part of a line-up that includes Mama Kaz, Gareth Dunlop, Brian Houston, Belfast Community Gospel Choir, the Wonder Villains, Katie and the Carnival and Shana Morrison – with the whole thing topped off by a performance for the first time back in his home territory of East Belfast’s most famous son, Van the Man.
 
Click HERE to be directed to the ticketmaster page if you’d like to buy tickets. I understand some tickets may be available on the door on the day (maybe it’s ‘on the flap’ if you’re playing in a marquee, I don’t know)
 
As part of the run-up, I thought it might be nice to throw together a little personal Top Ten of Van tracks – drop me a line and let me know your selection, or some that you think I might have missed. It’s such a great back catalogue, where would you start/stop?
 
1 - Fair Play (from Veedon Fleece)
 
The first time I heard this was years ago, it was on a dusty old vinyl copy of Veedon Fleece - and it seems steeped in the ages now, the sound of upright pianos in sunlit rooms. Oscar Wilde and Thoreau… Someone gave me a CD copy of Veedon Fleece in Canada during the summer and I rode through the woods in a borrowed car for days, playing this over and over as the sun came down through the leaves and played on the windscreen. I missed the sound of the dust and the passing years, but the piano was still as heartbreaking as it had always been.
 
2 - She Gives Me Religion (from Beautiful Vision)
 
The most beautiful track on the gorgeous Beautiful Vision album: the sleepy Sunday afternoon sound of bells, pretty girls in their summer fashion and the angel of imagination lighting a fire in a young heart. Elegiac trumpet from Mark Isham and a superb arrangement. I just keep coming back to it, and it never fails to deliver.
 
3 – Madame George (from Astral Weeks)
 
There’s little to be said about this masterpiece that hasn’t already been said – perfectly poetic, perfectly street-level, beautifully observed, delivered with tenderness and attitude and filled with loving details – ‘throwing pennies at the bridges down below’. It remains as fresh as ever to this day.

4 - A Sense of Wonder (from A Sense of Wonder)
 
Van explores his Belfast childhood on this evocative title track from the 1986 album. ‘Gravy rings, wagon wheels, barnbracks, snowballs...’ An irresistible exploration of the emotional geography of a hometown and the fields that surrounded it and were such a source of inspiration for the young artist. Van has touched on the subject many times, but never quite as beautifully. And I am an enormous advocate of… wonder.
 
5 - Queen of the Slipstream (from Poetic Champions Compose)
 
Quite simply one of the most beautiful performances from the superb Poetic Champions Compose collection. As a piece of songwriting, it sounds completely contemporary and two hundred years old at exactly the same time.
 
6 - Rave On John Donne (from Live at the Grand Opera House, Belfast)
 
‘Tonight you will understand the one-ness’… Live at the Grand Opera House Belfast is one of my favourite live albums of all time – with Van backed by an absolutely wonderful band, all of them on top form. They rise to the occasion on this fabulous rendition. When Van moves from the spoken to the sung section he rises to it, line by line. It’s hair-raising. And when the band crank up into the final, faster section they turn into a groove that takes that ruminative beauty and welds it to a punchy, muscular performance.
 
7 - Come Running (from Moondance)
 
There are few songwriters who capture the joy of summertime and young love like Van – Brown Eyed Girl nailed it wonderfully. The fact that you’ve heard it a million times doesn’t mean it isn’t one of the greatest ever songs about being young and smitten. ‘Making love in the green grass behind the stadium with you, my brown eyed girl’. It doesn’t get much better than that. Come Running explores similar emotional geography, jazzier and funkier – and his voice is just great against a hook-laden horn arrangement. I particularly love it when the horns and voice play against each other in the chorus: ‘I said HEY!’ – bam! – ‘Come running to me’.
 
8 - Hungry for Your Love (from Wavelength)
 
From Wavelength – the deeply groovy arrangement of this Wavelength cut conceals a killer punch, the syncopated roar of one of Van’s most memorable choruses. It’s like the whole band holds its breath and the heart skips a beat as he jumps in: ‘I’ve got such a lot of love…’ a perfect marriage of words, music, rhythm and attitude.
 
9 - Into the Mystic (from Moondance)
 
The Moondance album is packed with gems, and they don’t come much better than this, a Van classic that feels like it’s steeped in the waters of Belfast Lough, with reference to foghorns and an exhortation to ‘smell the sea and feel the sky’. It’s a blueprint for all kinds of music that came after, and it remains one of the best EVER examples of pure Celtic Soul.
 
10 - Tura Lura (from The Last Waltz)
 
If you’ve seen The Last Waltz, you’ll surely agree that Van walks away with the Man of the Match award for his roof-raising, high-kicking performance of Caravan. But the full performance, captured in the Last Waltz four-disc box set, contains the other Van performance from the show – a rather strange choice of Tura Lura (An Irish Lullaby) that contains a startling vocal performance from Richard Manuel and Van, who converts the song to a full-throated soul roar that put the hairs up on the back of the neck and leaves them standing. Complete with backing from The Band and the Last Waltz horn section, it’s an unmissable gem.
 
Drop me a line with your choices - at anthonytonermusic @ gmail.com
 
And in the meantime, for those of you who enjoy hearing me play the blues with the Ronnie Greer Band, we’re in action this weekend down in Monaghan at the Harvesttime Blues Festival. We play The Anchor Bar on Friday night at 9.30pm, and then on Sunday we have two shows – Terry’s Bar on Sunday afternoon at 4pm, and later that night the Westenra Hotel at 9pm.
  
CURRENTLY READING: Hugely enjoying Up In the Old Hotel by Joseph Mitchell (right) - a collection of journalism from the New Yorker writer. A wonderful ragbag of unforgettable eccentrics and New York characters, including street preachers, bearded ladies, publicans, deadbeats and entertainers. A real treasure chest of observation - I was struck that the young Bob Dylan might have filled his first five albums with the characters displayed here.
 
CURRENTLY LISTENING: Prefab Sprout - the greatest hits collection A Life Full of Surprises. I have a taste for the Prefabs every now and then, but it's like chocolate. After forty minutes of it my teeth start to rot. Sweet, slick and smart, Paddy McAloon wrote some beautiful tunes, and then cloaked them all in sugary synth washes, chimy guitars and breathy harmonies. But it's great to pump yourself full of that stuff every now and then, when all the other rock bands sound a bit... meat & potatoes.

Book Review: Sightlines by Kathleen Jamie

Kathleen Jamie’s extraordinary book of essays is full of journeys and discoveries, most of them taking place in high, fierce latitudes, buffeted by the wind, frozen and dazzled by bright northern days. And the book is a collection of marvels, like a scrapbook compiled by someone with a keen eye and an enormous heart.

It shrieks and blows with the noises of wild things and isolation – there are accounts of her visit to gannet sanctuaries and abandoned island villages, descriptions of whales, petrels and guillemots on the very edge of the inhabited world.

Jamie has already won prizes for her poetry, and that’s no surprise: ‘...To be named for the sky or the rainbow, and live in constant sight and sound of the sea. After a mere fortnight, I feel lighter inside, as though my bones were turning to flutes’.

And here’s a description of a flock of crossbills taking flight on the Isle of Rona: ‘There were about a hundred – the males were bright red and the females brown, so when they all flew by, they were like ambers blown from a bonfire.’

There were times when I got a little slowed up by the archaeology and naturalist lore, but then some delicious fact would stop me in my tracks: ‘It was said that when Hirta was inhabited, a thorough-going gale would leave the people deaf for days’.

Central to the collection is the recurring presence of whales – and more especially whale bones. She is at her most elegiac and inspiring in some of these passages, describing the whale bones set up as monuments around the country: ‘Whales apparently hear through their jawbones; they have no external ears as we do – so the very jawbones now raised around the country at large would, in life, have picked up sound waves in the ocean. What did they hear, these jaws, these eardrums? They heard us coming, that’s what.’

‘Sightlines’ is published by Sort Of Books – CLICK HERE to be directed to the relevant Amazon page.

Me & My Typewriters - a meditation

AT THE AGE of nine or ten, as the shop windows began to twinkle with the approach of Christmas, I sent a ray of hope out into the world. A wish that Christmas would deliver me… a typewriter.

I have no idea where the idea came from – I may have seen someone in a movie, pounding away on an old Olympia, and considered it the coolest thing in the world (I still do, I suppose – my love affair with the Typewriter As Object has lasted to this day).

Santa Claus must have looked at my letter with some puzzlement – because even in 1974, the typewriter was something undoubtedly asked for by a girl.

Maybe I saw one in my mother’s Great Universal catalogue and just fell for the rows of buttons, keys, levers, rollers, the boys-and-their-toys clatter and batter of the thing. The sound of words being physically hammered into the page. Undeletably permanent. A lasting, industrial meeting of steel and ink and paper.

My first typewriter was an object that, to be honest, stopped me somewhat short of the manly, Hemingway-esque ideal of the author at the keys. On Christmas morning, there it sat under the tree – a bright orange, plastic, boxy thing that I believe (looking back) was a copy of the ‘design classic’ Olivetti Valentine.

It came in its own soft carry-case – in imitation faded denim, its snap-button cover accentuated with white piping. There was even an adjustable shoulder strap, to complete the air-hostess-ness of the whole thing.

I can’t begin to image what I put through the machine over the years that followed. Reams of meaningless sentences, no doubt – but no real narratives to speak of. At ten years old, what could I possibly have typed on this object, other than the usual ten-year-old nonsense: ‘Here Iam,,  workjking on myt ypewriter’))))

It vanished from my life at some point, maybe gifted to a younger cousin, I don’t know. And at various points, typewriters came and went from my life – my late father-in-law Hugh McShane told me that he had procured one for me, when I was working on my first short stories. He came home from work one day with something that had been made redundant by technology and which was otherwise bound for the scrapyard - an enormous, beautiful black Imperial that weighed a ton and made a racket like a hammer drill.

Later, my then wife Donna had a cute little grey Boots portable typewriter that I used for short fiction, job applications and apologetic letters to the bank from time to time.

By the time I started in journalism in the mid-80s, typewriters were already completely obsolete. From the day I started, we worked on Amstrads – clunky, grubby Bakelite, green letters dancing across the black screen. And later of course, the omnipresent Mac and more recently, the PCs and laptops.

I did rekindle my affair with the typewriter about fifteen years ago. I found an old Smith Premier Chum (left) gathering dust in an antique shop in Coleraine and for £23 brought it home with me.

I have typed many things on it – letters, newspaper journalism (sitting out in the sunshine, typing court reports and council news with a beer), short stories, song lyrics, even some of these blog posts.

There’s something about the physical act of typing, the permanence of the utterance, that makes you pause slightly and consider each word before making the irreversible commitment of keystroke to page. It focuses the thought process. The Smith Premier also has a wooden roller - and the sound of the keys striking the wood is a particular thwack that is indeed vintage.

Recently I made another investment – a Remington Rand No. 5, dating back, I think, to the 50s. I came across this one (pictured above, and on the ‘Blether’ graphic at the head of this web page) in an antique shop in Greyabbey.

I wrestled a little before the purchase, strolling from room to room, past twinkling china and scuffed suitcases, asking myself if I really needed another vintage typewriter. No – I didn’t need it, of course. But I was going to buy it anyway.

I love it – like I’ve always loved typewriters. With the kind of unconditional love that turns the unwary enthusiast into a collector if he’s not careful.

 

Let's hear it for... The Third Man

For the first time in many years, I watched The Third Man last night – and was once again dazzled by it. It’s a surprisingly confident film, with its odd camera angles, and Harry Lime as the Godot-like absence at the heart of the film, and wonderful use of light and shadow in the backstreets of post-war Vienna.

The theme tune is also unforgettable, and some of the set-pieces remain breathtaking... the wall shadows, the chase through the sewers and the fingers reaching up through the grille.

There’s no point in running through the plotline here, but on this viewing, a few things struck me. The rudderless Maria character was always weak and simpering, but this time round she struck me as having been infected by Harry Lime, in the same way those who had consumed his watered-down penicillin had been. She seemed contaminated, weak-willed.

The central character Holly Martins is the absence of a hero - a writer who despises his own work, blunders from scene to scene, uncovers nothing, discovers nothing. He digs and digs for the truth, only to come upon it by accident as lights are switched on and people blurt things and give themselves away.

The fact that underneath all of the divisions of the quartered city, a criminal enterprise is thriving down below in the darkness, along the sewers, is a strong metaphor: the triumph of secret crime, right under the noses of those policing the public and political disagreements above.

And Orson Welles is a byword for charisma – he brings the film to life the minute he emerges from the shadows. It’s a brave story-telling choice, to make such a morally loathsome character so magnetic. That’s the power of Graham Greene (who wrote the screenplay) as a writer, I suppose.

And it’s always a treat to hear Lime’s famous little speech at the fairground on how dull democracy and 'brotherly love' are. To say something so amoral with such flair.

If you’ve never seen it, I recommend it highly - here's Harry's wonderful speech at the fairground:

Stones in my passway...

An ultrasound scan of somebody ELSE's healthy gallbladder. Looking very smug.So... I’ve been diagnosed with gallbladder ‘problems’ – a traffic sign that, in my mind, points squarely into the part of town known as Middle Age.

Actually, not necessarily so – they tell me you can have gall-worries at almost any age... At any rate, the beginning of such an ailment would appear to lead inevitably towards some kind of surgery.

Oh joy.

The Pain – when it comes – is truly a thing of majesty, of which more later. It’s big enough to bring a sidekick with it, a second, more insidious pain: the agony of looking at menus and knowing The Consequences, which come as side orders to each choice. It occasionally turns me into one of these pains in the arse who winces through menus and tells dining companions what he really shouldn't have...

So... steak & fries, mayonnaise, blue cheeses and ice cream sundaes are starting to slip out of my life, like sexy old girlfriends who come round to your house occasionally, but always leave you doubled over in pain in the middle of the night, bathed in cold sweat and hot regret.

I visited my doctor, who was done with me in less than ten minutes, referring me for an ultra-sound examination at the Ulster Hospital. ‘When the pain hits,’ I asked, ‘is there anything I can take to ease it?’

‘No,’ he said, helpfully. ‘Just take really strong pain medication and wait for it to pass.’

He prescribes Co-Dydramol, which I’m told is the Sherman Tank of pain relief. A week later, as if to test its armour, The Pain comes to visit. Earlier that evening, I had been dragged (against my will) into a Mexican food outlet in south Belfast. I (reluctantly) purchased a burrito, then retired to a sunlit bench in the Botanic Gardens and (under duress) ate the whole thing in less than twelve minutes.

Yum.

I was awoken at two in the morning by a large discomfort across the base of my ribcage, and immediately got up and swallowed two of the painkillers with a glass of water. Getting up and moving around seemed to make it start in earnest. It’s an almost impossible pain to describe. It doesn’t burn, it doesn’t gnaw or bite. It simply IS, enormously. It’s a cinemascope, widescreen pain, non-specific to any particular part of the midriff, but just deep and relentless. No amount of rubbing or writhing, standing up or sitting down, rolling over, applied pressure, hot water bottles, lying this way or that, will make it stop. It’s a four-foot-wide pain that feels like it has forced its way inside your sixteen-inch-wide torso like a fencepost you swallowed without remembering. You lie in bed reading short stories at three in the morning waiting for the tablets to start working.

At the Ulster Hospital, a trained operator slathers my belly with conductor fluid (and yes, in case you're wondering it IS just as unsexy as it sounds) and begins to roll a sensor across my embarrassed bulges. I keep expecting to hear a beep, like it has discovered a bar code on my liver. Unrecognised item in bagging area.

I’m not sure how to behave – she’s pretty businesslike and says nothing more than ‘breathe in’ and ‘relax’ every now and then. She pauses here and there for long and worrying spells where nothing moves but my tremulous little palpitating heart – what is she LOOKING AT for so long? God... for all I know my internal cavities could be a bristling cave of carcinogenic stalagmites.

And what am I supposed to do? Am I allowed to look at the screen? I steal a glance- it’s as you’d expect, a shadowy grey world of white blobs and dark crevices. Things loom out of the shadows and disappear again, like featureless marine mammals.

I try to break the ice. ‘Well,’ I say after a while. ‘I hope it’s not twins.’

She smiles. She’s heard this a million times, I reckon. And has a stock reply: ‘You could make a lot of money if it was.’

She tells me nothing that I didn’t already suspect: ‘Your gallbladder is giving you some problems.’

But I’m surprisingly wobbly-kneed with gratitude when she tells me that there’s ‘nothing else sinister’ that she can see. The sun shining on the dual carriageway at Dundonald never looked so lovely as it did after hearing that. (The world, of course, has a way of handing perspective to you, just when you need it most)

The next stage is to hear from the doctor about an appointment for surgery. They tell me – the people who Know About These Things, and have Been Through It – that it will be 'keyhole' surgery, which I suppose is something else to be grateful for. Better than the alternative means of surgery, I imagine – ‘Cat Flap Surgery’ for example, or ‘Trap Door’. ‘Velux Window Surgery’.

There are other methods of treatment – a friend of Andrea’s (Andrea has started to refer to me as ‘Asterix The Gallstones’, by the way) has suggested a ‘gallbladder flush’ recipe. Listen to this: This involves fasting for three days, drinking nothing but raw fresh apple juice. Then at 3pm on the third day, drink a quarter of a litre of cold pressed olive oil. Then drink a quarter of a litre of STRAIGHT LEMON JUICE. This apparently flushes the stones and gravel right out of the system. Along with, I imagine, your will to live.

If there are any future developments, I will of course get my people to call your people. In the meantime, I’m preparing to join the massed ranks of brothers and sisters on one of those quaint old things called an NHS waiting list.

Waiting for buses

This morning, an old couple in the bus station. He’s wearing pinstripe trousers & black shoes, shirt & tie & one of those rainproof coats like football managers wear. Steely grey hair brushed straight back. She’s wearing a shapeless purple anorak over a cream cardigan, black trousers, black shoes. She has dyed her hair black, & the roots are showing white. Her hair looks like she has slept clumsily on it, a big white flat patch with the edges sticking up like a forest clearing. She has a crutch on one arm & a canvas shopping bag that says BAG to the FUTURE. They must be going grocery shopping. He will walk the aisles in his shirt & tie. Until then they wait for the bus, they sit & stare along parallel lines into separate spaces, or gaze at their shoes & they say

not

one

word

to each other for twenty long minutes as the buses come & go & the guy on the opposite bench jingles his change

over &

over &

over again.

Semana Santa in Andalucia - Part Three

April 9 - Cordoba: History – layer upon layer – piles up on top of itself in Cordoba, this ravishing city where the Catholics built a cathedral in the centre of the mosque and surrounded the muslim minaret with a belltower.

  I’m sitting in the courtyard outside the mosque, intoxicated by the scent of orange trees overhead and the music of the fountain, where I sit on the wall and write these lines to myself. We have been blessed and surrounded by wonders on this magical history tour, the beautiful backstreets of Cordoba opening their arms, enfolding us in the scents of the Jewish ghetto. Narrow high-sided lanes opening into courtyards where musicians play and orange blossoms twirl down onto the table tops and sparrows dart happily between the chairs.

  Last night we ended up – blown like cotton blossom – back up from the old Roman bridge, through an archway and the ghetto – in a little square where a pavement cafe advertised five tapas for ten Euro. We took a seat and waited for service. Our waiter was a dark-faced, jet-haired man, who rolled as he walked between the tables with the stiff, powerful gait of an old boxer or a bullfighter gone to seed. He never smiled, rarely made eye contact, labouring up and down the slope of the cafe terrace with the orders or the bills or the change, cleaning tables as he went. We found out later he was from Ecuador.

  Over our heads from the beautiful pulpit windows overlooking the terrace we could hear a piano starting and stopping. Young dancers arrived – it was a ballet school – as the piano trilled above us. At one point, the owner of the cafe came out onto the terrace. A bicycle entered the plaza and the rider sounded his bell. The owner leaned to see below the fringes of the parasols and waved to the cyclist as he rattled across the cobbles and disappeared down a narrow street. It was like a scene from an Andalucian tourism advertisement.

  Later that evening we stopped for more food at Los Palcos – a neighbourhood bar with a pretty covered courtyard restaurant. There we had more tapas and some superb Rioja – and heard the sound of music from the front bar. We tipped our young waiter and he brought us three shot glasses full of a honey-coloured drink. We took a sip and were immediately caught off guard by the combination of fantastic sweetness and alcoholic kick. ‘Que es?’ Andrea asked him, pointing to the glasses. He showed his gums in a proud smile: ‘Vodka caramel!’

  Outside in the bar, two teenage boys were loosening their vocal cords with beer, one strumming furiously on a cheap Spanish guitar, both singing with stirring, Middle Eastern fluency. They sang in tight harmony, their melody swooping, diving, swimming around corners at amazing speed. It reminded me of a sight we had seen earlier – swifts darting in and out through the arches of the Roman bridge. People were hammering the bar in rhythm. The waiter brought us more vodka caramel.

  Another customer came into the bar and the guitar was handed to him. He began to play a furious, complicated flamenco tune. Without hesitation, the youngest singer picked up the melody and joined in, singing with supple abandon. I had the impression, watching them lock eyes on each other, that whatever key the guitarist would choose, this youngster would reach the note, and nail it like a quivering flag on a peak.

The ceiling of the mosque, CordobaApril 10, Cordoba - Today we saw the mosque and the cathedral. It’s a soul-stirring, neck-stretching, eye-widening, spectacle of a place. One that is almost not worth describing, like the Alhambra. For how can you capture in words the swooping, rising majesty of stone, light, colour, glass and religious fervour? I have taken many pictures and could take a thousand more. The place was packed with pilgrims, modern pilgrims who have no connection whatever to the religious iconography and muslim splendour they’re witnessing.

  They are here for the spectacle, and since there is little to be said in the face of such beauty, they gobble it up with their lenses, photographing and filming in their thousands, so they can believe some time in the future that once upon a time they stood face to face with a thousand years of history and a million ton of stone, plaster, glass and paint, arranged in such a shape that could stop the heart, could prevent the tongue from speaking in wonder.

Semana Santa in Andalucia - Part Two

Easter Saturday, April 7 - Yesterday we arrived in Granada, this amazing city of hills and narrow cobbled streets and ancient doorways in whitewashed walls. Almost as soon as we arrived, we set off on a four kilometre walk that took us along the Darro River, with amazing views of the Alhambra and many beautiful churches and civic buildings.

  After dinner we walked in the cold night air down to the Plaza Nueva and towards the cathedral. Echoing beautifully through the square, we could hear the horns and drums of another procession and soon we were following another icon through the backstreets until we came to the Plaza Del Carmen.

  The music was again stirring and sombre, the whole black-clad river of faith and devotion very moving. It was cold in the streets and we made our way back to the hotel late, the winding alleys and gabble of tourists setting off strange echoes at every corner.

  During the night I had a nightmare – I was witness to a man being kicked to death by a group of people. I felt like I was expected to participate. Blood was everywhere – the man wore a black suit with a white shirt, everything torn and stained red. And they threw him to the ground and against walls and gouged and punched him. He gave little or no resistance.

  It struck me when I awoke that he wore the uniform of the musicians we had seen in the street. And since it was Good Friday, my dream must have been a savage modern version of the Crucifixion of Christ.

 

The old city of Granada, the Albayzin district seen from the walls of Alhambra PalaceApril 7 - At breakfast this morning, our German host is all information. In comes another family staying at the hotel, a Spanish family from the north. And the old Basque grandma was having none of him. As he started describing the four different types of marmalade that he had on the table, she spoke across him, completely ignoring what he had to say, and grabbed one of the dishes.

  Later, her son told us that they had found some of the religious processions very difficult. As Basques, they associated the military march and the martial music with the Fascist past. He told me that his mother had trembled in fear and discomfort as some of the parades had passed.

  We had a brief exchange about the struggle for independence and civil rights that had affected all our regions – the Basque, Northern Ireland and indeed Quebec. And here we were, our shoes caked with the dust of all of the places we had been, united for Easter in the holy city of Granada.

  A small world shrinks with every meeting of every soul with every other soul.

Semana Santa in Andalucia - Part One

April 5 - Malaga: Andalucia laid on a welcome for us from the opening day. Coming in from the airport, our taxi was diverted as the centre of Malaga was thronged with onlookers for a military parade. We dismounted and made our way on foot through the sunshine. The main street, the Alameda, was packed with people standing up on dusty folding chairs under the palm leaves, craning for a viewpoint. Andrea stood up on a lamppost for a better view and looked adorable as an eight year old as the soldiers marched quickly by in ranks, followed by buglers who twirled their instruments expertly - and blew sweet, shrill, soulful notes out into the cool sunshine.

  When the parade had passed, the crowds broke up quickly and we pulled our suitcases through the narrow streets to our hotel, close to the broad, pale open space of the Plaza de Merced. The hotel is an oasis of cool, tiled calm, a maze of corridors and shuttered windows.

  We dumped our bags and headed out for lunch, eating under the shade of a beautiful bougainvillea by the church at San Augustin. We were serenaded by a beautiful player – a Peruvian who sang and played for tips as ordered lunch. As we ate, we could hear the approach of drums and cornets – playing the most beautiful, mournful music. And here through the narrow streets in the afternoon sunshine came the wooden icons of Joseph and Mary, both riding donkeys, which were carried into the grounds of the church while the band, dressed in black with vintage German style helmets with points, played outside.

  We went back to the hotel for a siesta, and awaited Julia’s arrival. After a long catch-up, we ventured out around 7.30pm. As we arrived at the cathedral, more crowds were gathering, and soon another icon was carried into the street, flanked by penitents wearing the pointed black hoods and carrying black candles.

  We went for dinner at Il Jardin restaurant, and when we emerged, another icon of the virgin was being carried back in, this time in darkness, very dramatic.  I managed to squeeze off one shot above the heads of the crowd, and caught this amazing image of the rows of faces of the carriers as they brought the icon back to the cathedral. The accompanying music was heartstopping – beautiful and moving, sad and complex, lots of shifting, deep harmonies in minor keys. As we made our way back to the hotel on the pavement of the Calle Madre de Dios there were rose petals dropped earlier in the evening from one of the many processions making their way across the town that night.

  The first day in Andalucia left my head swimming with impressions that reeled over and over in my head as I tried to sleep: The ringing of the bells. The sound of the bugles in the open air. The rich and glamorous people gliding around the back of the cathedral. Now and then, the heartbreakingly beautiful little Spanish girls. The smell of incense in the street. The shimmering icons carried aloft. The little shot glasses of sweet sherry offered up by our waiter after we tipped him. The sparrows twittering in terror by the church of San Augustin, as the bugles and drums started up.

Shipyard, father & son...

Here’s a picture of my father as a very young man, on an outing from Diamond’s Sawmills in Coleraine to the great shipyard at Harland & Woolf, Queen’s Island, Belfast.

There were two or three such excursions – Diamond had occasional business with the yard. He says he can’t remember the exact reason for this trip, but here he is, lounging in the back of an old Austin van with Pat Hutchinson from Portglenone. Pat has now joined the legions of the long gone, but my father, of course, shines on.

I am not even a twinkle in my father’s eye at this point – we believe this picture may have been taken about 50 years ago. He remembers Harland & Woolf as an intimidating place, a world and a tribe all of its own, and as a young catholic from up the country, I’m sure he couldn’t wait to get on the road north again.

The picture has come into my possession just as I am about to take part in my own little piece of shipyard history in this year of All Things Titanic, next Sunday afternoon, April 1st. I’ll be participating (either walking or cycling) and then performing briefly at around 1.25pm as part of the Titanic Yardmen Cycle and Walk.

Organised by the Connswater Community Greenway Group, the event aims to re-stage this classic photograph (left) of 1,000 yardmen standing on the slipway at Harland & Woolf. The numbers for Sunday’s event were limited to 1,000, and I’m delighted to say they’ve made the target and the event is now officially sold out.

Everyone taking part will receive a ‘duncher’ – the flat caps worn by the shipyard workers – and a ‘piece’, a packed lunch, courtesy of sponsors Edwards & Co Solicitors and Fitzer’s Catering. The event has been organised with the intention of raising awareness of Bowel Cancer.

The event starts at the Billy Neill Centre in Dundonald (for the cyclists) at 12noon, and at Pitt Park on the Newtownards Road (for the walkers) at 12.45pm, and both parties converge on the slipway at Harland & Woolf, arriving by 1.15pm.

Compering the event at the slipway will be Dan Gordon, and I’ll be singing a couple of songs with Belfast references – Sailortown and You’re The One. Then after some speeches and the re-staging of the photograph, there will be some music from Belfast Community Gospel Choir – it should be a memorable afternoon.

If you’d like to know more, get in touch with the Connswater Community Greenway group on (028) 9046 7934, or visit the website: www.communitygreenway.co.uk.

Beautiful boxes

Those of you who know me well will know what a sucker I am for design... I'm constantly arrested by beautiful posters, album or book covers, wonderful packaging, interesting typefaces, magazine layouts etc.

So you won't be surprised when you find out I've been drooling over this little box of delights - a box of sampler teas given to us over the weekend by our dear friends Michael and Alison. These are people of wonderful taste, and they probably don't even know how much they hit the target with this.

It's a very plush little cream-coloured box adorned with beautiful typography and elegant use of space - and inside are a variety of herbal and flavoured teas, each of them individually packaged in a tiny cardboard pyramid.

They've been laid head to head in the box, so when you lift the lid it's a sequence of very satisfying and snug little geometric shapes in a range of muted colours. I find stuff like this irresistible. I almost can't bear the tought of trying one of the teas and ruining this display.

Back in the vinyl days, I was always the kid examing the gatefold or double albums and the inner sleeves with the printed lyrics, soaking up every detail of the package. I've been known to buy certain 50s Blue Note jazz albums just because the cover looks really cool. Now I find not much has changed.

Bye bye Ronald

I’ve been thinking a lot recently about the wonderful cartoonist Ronald Searle, who passed away at the start of the year at the ripe old age of 91.

I first came across his irreverent, hilarious work when I in my second year at Coleraine Inst. There was a book of his work in the library, including his drawings from the War in Burma and inevitably the St. Trinian’s girls. I was immediately smitten with his comic invention and his inventive, stretchy and scratchy drawing style.

My favourite was a cross-eyed mare standing chewing on a wildflower in an overgrown meadow, captioned ‘Idiot Horse Labouring Under the Misapprehension That It Is Representative of Nature’.

I was all ready for a big art weekend in London in February 2010 - I was going to see the Van Gogh drawings and letters at the Royal Academy, but I also wanted (probably more) to see the Ronald Searle retrospective at the Cartoon Museum, laid on to celebrate his 90th birthday. The Ash Cloud put a spanner in all of those works, and I was grounded.

The papers were full of obituaries and tributes in the last week or so, but my favourite story was from Gerald Scarfe, himself perhaps the greatest of the legions of cartoon geniuses from this part of the world. Scarfe idolised Searle as a teenager. On a number of occasions, he had cycled from his home in Hampstead all the way over to Searle’s house in Bayswater and stood before his big green door, unable to overcome his nerves and push the bell.

Many years later, Scarfe’s wife (Jane Asher) threw a secret birthday party for him in an exclusive restaurant in Provence. When they entered, he found that the only two other people in the place were Ronald Searle and his wife, who happened to live nearby.

“A beautiful little package sat on the table, all done up with ribbon. I said: ‘Oh, is this for me?’ And Ronald said: ‘Yeah, it’s nothing.’ So I opened it, and there was a brass doorbell with a note saying ‘Please ring any time’.”

Blown away in the hills above the city

Today Andrea and I made the first of what I imagine will be many trips to Black Mountain and Divis, the hills above Belfast.

  I’m ashamed to say it’s the first time we’ve ever ventured up, despite much talk over the last couple of years. Of all the days to choose, today was typical of Northern Ireland – blowing a gale and with intense showers glittering through bright sunshine.

  It’s hard to imagine such massive open moorland within 20 minutes of the city centre – it’s primal, raw landscape in its extremity, lashed today by the revolving door of Ulster weather.

  There are a number of major broadcasting masts up there, so most of the journey is made on a well-finished concrete pathway that leads up as far as the antennae. From there on, it’s a combination of boardwalk across the marshland, and a carpet of plastic grip surface – it looks like old milk crates have been sunk into the soil.

  We came up over the brow of Divis and there was a spectacular view of the city, with the Hardland and Wolff yellow cranes standing out gleaming in the sunshine and huge towers of rain marching across the distant east of the city. The wind was buffeting us madly, so we took a couple of quick snaps and turned back, thinking of cappuccino at the end of the rainbow. 

  On the way back down, the rain came on and the sun retreated to an angry white spot in the midst of a bruised sky. You could still see the sunshine glinting off cars coming in on the M1 in the distance, while the gusts peppered the sides of our faces with stinging rain.

  We made our way back past the antennae and towards the car where we shook off our rain gear and made our way back down the Springfield Road and into town, watching the traffic lights through steamed up glasses.

Raising a glass to winter

TODAY Andrea and I decanted the sloe gin that we made during the autumn... We discovered some heavily laden sloe bushes in Victoria Park back in October and filled our pockets and even our caps with them, getting soaked by the rain in the process. We brought the whole lot home, washed them, pricked them with pins and threw them into two bottles, each half filled with Gordon's Gin and some sugar.

This weekend it's harvest time. Anyone who darkens our door over the festive season is welcome to a slurp. Here's a poem by Seamus Heaney on the very subject:

SLOE GIN

 

The clear weather of juniper

darkened into winter.

She fed gin to sloes

and sealed the glass container.

 

When I unscrewed it

I smelled the disturbed

tart stillness of a bush

rising through the pantry.

 

When I poured it

it had a cutting edge

and flamed

like Betelgeuse.

 

I drink to you

in smoke-smirled, blue-black,

polished sloes, bitter

and dependable.