Current events – Page 5 – Brian Micklethwait's New Blog

Cricket lag will now be unavoidable

Oh dear. I’ve just discovered that this is happening, on Channel 4 TV:

You don’t need a jet to screw up your sleep patterns. Interesting television at 4am will do the job just as well.

I was just looking for daily highlights. Instead, I discover the whole thing.

For some reason this bit of computer graphics refused to allow Gadwin, my screen scanner, to scan it. So, I photoed it. “Rating 7”. Bloody cheek.

The game I’m now watching is this one. The very first thing I saw was Stokes getting out. Pujara nearly dropped it, but he didn’t. England now 431-4, with Root approaching his second double century in the space of three test matches.

And Root now has his two hundred, going to it with a six. 440-4. The stadium is empty, but he won’t care.

Buggering on

According to GodDaughter2’s Dad in one of his recent emails, Churchill once said something about how we just have to keep buggering on. Either that or GD2D made this up. Anyway, that’s what I am now doing, as best I can.

Today started going to hell last night when the Royal Marsden rang to say that the telephone-appointment they had been saying for about a fortnight would be at 3.30pm might actually be at more like 11am! Which meant that cricket lag (which it turns out I am suffering from) came into play. Instead of sleeping during the small and then not-so-small hours of this morning, I instead had a succession of coughing fits, all made worse by the thought that, come the telephone-appointment, I would be struggling to stay awake. The only way to stop the coughing during the night was to get fully up, sandals, sweater, the lot, and sit for an hour or two in front of my computer like it was the day. Being vertical being the only way to stop the coughing. Maybe it’s just because I now have words for what is wrong with me, but my lungs, while I was coughing, seemed truly about to give up on me, if not now, then some time rather soon.

But at least, having got me up at the crack of 10.30am, the appointment was indeed at just after 11am, so there was that. So, back to bed for the afternoon, including a bit of sleep, and then an early evening during which various further details were sorted, to do with who would live my life for me in the event that I became incapable of living it myself. Once again my Senior Designated Friend was driving all that along. Without her, I’d not yet be dead but I’d probably be wishing I was.

Now, I am trying to avoid eating or drinking anything that might keep me awake for yet another night. Quite easy because today I consumed a massive fish pie at lunchtime. But will I sleep tonight? Weird how I can sleep through great chunks of one of the great fourth innings run chases of all time, but could not, last night, just sleep. So maybe it’ll be the same this coming night, with, again, no cricket to relax me.

Tomorrow, at a genuinely early time in the morning, I am off again to the Marsden, for a Covid jab and for research tests associated with that (they want to know how lung cancer sufferers react to the Covid jab), and I’ll also hope to be picking up an inhaler, to stop me coughing being the idea of that. We shall see. At least I’m finally getting the jab.

Just taken another daily magic anti-cancer pill. Will it ever have any effect on the cough? Like: end it. That would really be something.

Five more crowd scenes photoed in and from the Tate Modern Extension

As I have said here many time before, I love the Tate Modern Extension that they recently stuck behind the original power station. The Extension is the Thing you can see here, centre left, at the back:

It’s not that it is especially beautiful to look at, although liking the Thing itself so much, I have myself come to like how it looks. And I like the Thing itself because of all the fun things I can photo in it and from it.

For instance, I can photo crowd scenes in it and from it, or I could once upon a time. Like this crowd, photoed a bit nearer to it, after I’d gone under the bridge with the railway station on it (Blackfriars):

And here is part of that same crowd, photoed once I was up and in among that crowd myself:

So much for the crowd in the Tate Modern Extension. Now for four more crowd scenes, all photoed in one photo, from the Tate Modern Extension:

Three crowds in three boats there, and another crowd on a bridge, the Millennium Footbridge, another recent favourite addition to the London bridge collection.

Those were the days. May they soon return, which I will believe if and when I ever see it and no sooner.

The day when I photoed all of the above photos was in August 2016.

The trouble with cultured meat progress is that too much of it is happening in Israel

Maybe media people would make more fuss about the progress of “cultured” meat, the sort of meat that doesn’t involve killing animals, if so much of that progress was not now being made in Israel.

My attitude towards Israel is one of unconditional positive regard. If Israelis do something good, which they frequently do, well done them, as in this cultured meat matter. But if Israelis do something that seems bad, well, I am sure they have their reasons, probably to do with the kind of neighbourhood they inhabit.

However, the typical journo/commentator these days has an attitude towards Israel of unconditional negative disregard. Only when they can explain how Israeli progress in cultured meat is really all about oppressing Israel’s Muslim neighbours will these sorts of reporters report on this, I think, epoch-defining story.

The ups and downs of Oscar

If you type “Oscar” into the bit under where it says “SEARCH” on the left, you will find your way to lots of good photos of Oscar, the cat of GodDaughter2’s family who live in the South of France. Where they are now stuck.

This latest incoming photo of Oscar (thank you GD2D) is not that good, of Oscar:

But this is a good photo of a common habit of cats, which is that of climbing to what you would think would be inaccessibly lofty spots, and only then wondering how they’re going to get back down again. Well, actually, they do have an escape strategy for all such predicaments. Yowl continuously until a human rescues them, and then forget about it. But you know what I mean, I’m sure.

How did Oscar get down? Simple, he was rescued. What I want to know is How did Oscar get up there in the first place?

I’m also not asking why he got up there. He’s a cat. That’s why.

Quota gallery of views photoed from the top of Westminster Cathedral Tower

Photoing big collections of photos like this, photoed in October 2017, …:

… is one the many things I now miss doing. I can’t tell from this if you can actually do this again. No mention of Covid, which there surely should be. I suspect this website could use some updating.

I think they get more interesting as what I’m photoing gets closer,

There are a couple of apparent duplications, but in each case, the lighting was very different.

It’s hard to know what will be temporary

When I photoed this photo, I’m pretty sure that it was the Big Things in the background that I was thinking about. 22 Bishopsgate, is it? No sign of that. Or of the Scalpel. The Cheesegrater still under construction.

But as for all those people lounging about in the Park, sunning themselves, or meandering about next to the lake, well, that’s not going to change, is it?

Burgess Park, May 2013. Burgess Park is one those London Parks that not everyone has heard of. Or maybe what I mean is I never noticed it until about 2013, when I seem to recall realising that it might be a good way to walk from my place to that of Michael Jennings. I recommend it.

Norman Lebrecht has a go at Barenboim (and Igor Levit is not a God either)

I actually don’t think that the things Norman Lebrecht quotes star classical pianist and conductor Daniel Barenboim saying about the nature of the Covid ordeal now being suffered by him and his fellow musicians and performers are really that terrible. Barenboim was trying to get across the all-embracing inescapability of the thing. He compared it to World War 2, pointing out that there were places in the world where you could escape from that war. True, he might had been wise to add a phrase like “if you were lucky”. Because as Lebrecht then argues, millions were not so lucky, could not escape World War 2 and suffered horrors and deaths way worse that anything now being endured by all but the most unlucky of the Covid generation.

Concludes Lebrecht:

This is a really unwise statement.

Maybe, but personally I doubt it. I would say that, for once, this is a case where “clarification” is really all that should be needed, and maybe not even that. It was clear enough what Barenboim was at least trying to say.

But what I do relish about Lebrecht is his willingness to disagree in public with classical music’s various star performers when they express what he considers to be foolish opinions outside of their core competence. And in general, when he reckons they are not doing their jobs well enough to justify their often stonkingly unequal remuneration.

Especially when you consider the kind of power that people like Barenboim wield from their perches at the top of the musical world, often without even realising it.

And, when you consider the crawling reverence with which these people are now mostly treated by such broadcasting organisations as the BBC.

I have a recording from off the radio of a Proms performance of Beethoven’s third piano concerto (which is one of my very favourite pieces), in which rising star pianist Igor Levit was the soloist. And very well he played it. (I happen greatly to prefer Levit’s way with this concerto to how Barenboim is in the habit of playing it.) But the spoken BBC intro, particularly as perpetrated by the BBC’s Petroc Trelawney, was some of the most grovellingly ridiculous verbiage I have recently heard on a serious radio station. Based on how Levit plays this concerto, and having heard him play Bach and Beethoven solo piano music that I happen also to own on CD, I think Levit is a fine pianist. But Trelawney spoke about Levit’s trick, to take a particularly ridiculous example, of bringing a bar of chocolate with him to fortify him during a hard evening of piano playing as if this were evidence that Levit is some sort of Higher Being, far above us mortals. It was embarrassing.

Norman Lebrecht, I think, often grabs hold of whatever stick he happens to be shaking at the wrong end. He is a man of impulse, and I think this often leads him astray. But he is right that this kind of grovelling to the big beasts of classical music should stop.