Peak Remembrance?

Yesterday, I went on a shopping expedition which involved boarding a train at Charing Cross, which I planned to reach by going first to St James’s Park tube.

The first of the photos below (1.1) is of a taxi, parked close to where I live, with some sort of poppy related advert on it. I like to photo taxis covered in adverts. Temporariness, the passing London scene, will get more interesting as the years pass, blah blah.

Then, in Strutton Ground, just this side of Victoria Street, I encountered two besuited gentlemen wearing military berets and medals. I photoed them both, with their permission, and I post one of these photos here (1.2), also with their permission. Sadly, the other photo didn’t come out properly.

It was only at this point that I realised that, the following day (i.e. today) being Remembrance Sunday and what’s more the exact one hundredth anniversary of the Armistice of November 1918, London in the Westminster Abbey area would already be awash with Remembrance Sunday photo-ops. My shopping could wait a while, and I turned right down Victoria Street.

The seven other photos below mostly involve small wooden crosses and dead autumn leaves – autumn 2018 arrived at Peak Dead Leaf yesterday – but they also include another poppy related advert, this time on a the side of a bus (3.3), which I photoed in Parliament Square:

Sadly, the plasticated documents referring to “British Nuclear Test Veterans” (2.1) were insufficiently plasticated to resist the effects of the rain. It began to rain some more when I was arriving at Charing Cross station and it did not stop for several hours, so I’m guessing these lists suffered further rain damage. It’s odd how little sadnesses like this stick in your mind, in amongst the bigger sadnesses being remembered.

The autumn-leaves-among-crosses photos, all taken outside Westminster Abbey, are but a few of a million such that must have been taken over this weekend, in London and in many other places. Is it proper to include two mere advert photos, even if they are poppy related adverts, in such poetically symbolic and dignified company? I chose to do this because one of the things I find most interesting about these Remembrance remembrances is that, as each year of them passes, they don’t seem to be getting any smaller. People still want remember all this stuff, even though all the veterans of World War 1 are now gone. Hence the adverts. If the adverts didn’t get results, they’d not be worth their cost.

As to why these remembrances continue to be remembered, and by such huge numbers of people, year after year, I think one reason is that each political tribe and faction can each put their own spin on the sad events being remembered, but in the privacy of their own minds. For some political partisans, these ceremonies and symbols are a chance to wallow in the pageantry of patriotism. For others, they are an opportunity to rebuke such nationalists, for stirring up the kinds of hostility that might provoke a repeat of the sad events being remembered. “Patriotism” and “nationalism” being the words used to salute, or to denounce, the exact same sentiments. But declaring red poppies to be a warning that the defence budget should be increased, or that they are anti-Trump and anti-Brexit symbols that Trump supporters and Brexiteers have no right to wear, would be too vulgar and partisan, so on the whole this kind of vulgarity and partisanship is not indulged in, not out loud.

The phenomenon of the political meeting where all present hear the same words but where each understands them to mean different things – I’m thinking of such words as “Britain”, “freedom”, “democracy” and “common sense” – has long fascinated me. Remembrance ceremonies remind me, on a larger scale, of such meetings. I attended many such little political meetings myself before I decided that mainstream politics was not for me, and switched to libertarianism, where meanings are spelt out and arguments are had rather than avoided.

For less obsessively political people, Remembrance ceremonies and symbols are simply an opportunity to reflect on the sadness of history in general, and in particular the sadness of the premature deaths of beloved ancestors – or, perhaps worse – hardly known-about ancestors. We can at least all agree that premature death, in whatever circumstances, is a sad thing to contemplate. And until young men entirely cease from dying in wars, Remembrance Sunday will continue to be, among other things, a meaningfully up-to-date event.

And so, year after year, these ceremonies continue. Will this year’s anniversary come to be regarded as Peak Remembrance? We shall see.

Originally posted at Brian Micklethwait’s Old Blog

Sign of our time

Seen recently on Facebook:

I like all the reflections in the background. And what happens to the guy’s head. Real Photographers tend to avoid all that stuff. I seek it out.

Is this a reference to Brexit, Trump etc., or am I reading too much into this?

Originally posted at Brian Micklethwait’s Old Blog

Old and cross

Photoed by me, on the same day that I most recently photoed Bartok:

As I get older, I find myself, every so often, getting crosser. Not all the time, you understand, just in occasional eruptions.

But I am not cross about this photo. That is exactly how it came out of the camera. No cropping or Photoshop(clone)ing. Just as was. I love that light, as I have been saying here for about a week now.

I love that effect when the light is very strong and almost exactly in line with the wall but not quite, at a just sufficient angle to light it up, and at the slightest excuse cover it in big shadows. If it didn’t say: “City of Westminster”, you’d think you could be in the South of France or some such sunlit place.

More about the Compton Cross.

Originally posted at Brian Micklethwait’s Old Blog

Cranes caught in the searchlight

This is the third consecutive posting here based on photos I took, two days ago now, while walking from the Angel to Barbican tube.

The reason for the abundance of photos from that walk was the light. It was a classic London early evening, when the sky above was getting grey and dull, but when there was a gap in the clouds out west, and the sunlight came crashing through that gap horizontally, light a searchlight, picking out random things that were sticking upwards, above the point at which old London stopped going upwards and only new London protrudes. Not everything doing this got caught in the beam, just some things. Behind them or next to them there would be objects entirely unlit and already fading fast into darkness.

Things like cranes:

That’s a fairly conventional photo for me, because the darkening sky is the background, as it often is when I photo evening sunlight crashing into cranes.

But this next one, taken rather later as I neared the Barbican, seemed to me to be something else again:

I have a kind of check list mentality when judging my own photos. I have a list of things I like, and the more such things are happening in the photo, the higher the photo scores. Cranes, tick, with the evening sun hitting them, tick. Another is interesting architectural silhouettes. Of such Big Things as the Gherkin, the Walkie Talkie, the Shard, and so on. And although those Barbican towers are not the prettiest Things in London by a long way, their silhouettes are distinctive, because of that saw tooth effect you get at the sides. I also like the understated roof clutter there.

Originally posted at Brian Micklethwait’s Old Blog

At the Grafton Arms (after recording a talk)

Recently I and Patrick Crozier visited the Grafton Arms. I rather like this pub. These guys also like this pub, because of the Goon Show. Apparently the Goons wrote some of their scripts there, in an upstairs room.

A fact commemorated by this mirror behind the bar, which I only noticed on this visit:

If you look carefully there, you can see me and my camera. Well, it is a mirror. I should have tried to include Patrick.

What took Patrick and me to the Grafton Arms was that we had just been doing one of our recorded conversations, and we needed refreshment. Tune in to the latest one, by going here.

My favourite of these conversations so far has been the one we did about WW1, concerning which Patrick is something of an expert. Our next, or so I hope, will be about transport, concerning which Patrick is also something of an expert.

Originally posted at Brian Micklethwait’s Old Blog

Confirmation that The Peak is a one-off rather than a two-off

Somewhat over a year ago I wrote about When what I think it is determines how ugly or beautiful I feel it to be, in connection with this building:

This is described, at any rate by its owners and its various occupants, as The Peak.

And that photo of mine above, taken from the top of the Westminster Cathedral Tower, is my Peak photo which best illustrates the oddly deceptive appearance of this decidedly odd-looking building. It looks like a 60s rectangular lump, to which 90s or 00s curvatures, on the right as we look, and on the top, have been added. But, as I discovered when concocting that previous posting, the whole thing was built all at once. It looks like a two-off building rather than a one-off building, but looks deceive, or deceived me, for a while. Two-off good, one-off bad, was how I had been thinking. It was two-off, so (aesthetically) good. Organic, additive, blah blah. But, what was I supposed to think, on discovering that it was really an inorganic and un-additive one-off?

Now, buried in my photo-archives, I find this photo, taken on October 28th 2008, which confirms that The Peak is indeed a one-off, because here it is (here it was), all being built in one go. There really is no doubt about it:

When I took this photo, I was a lot more interested in the anti-pigeon spikes on top of those street lamps, and on top of the railway sign, than I was in the building work in the background.

How I now feel about The Peak, aesthetically, is that I still rather like it, if only because I have paid so much attention to it over the years, and feel sort of proprietorial towards it, as you would towards a somewhat clumsy child that you have adopted. (That feeling applies, for me, to a great many London buildings.)

Also, whatever else you think of it, when you see it, you at once know where you are. It is very recognisable, recognisability being a quality in buildings which I appreciate more and more. “Iconic” is the rather silly word that estate agents and suchlike use to allude to this quality. But they have a point, even if they use a silly word to point to their point. That “you could be anywhere” feeling is not a good one, in a city or anywhere else.

“Other creatures” (see below) because of the pigeon scaring.

Originally posted at Brian Micklethwait’s Old Blog

How the Shard was looking nine years ago

Nine years, to the day, actually. I was trying for ten years to the day, but after concocting what follows, I realised that these actually date from October 8th 2009:

The first one shows a rather strange footbridge that used to go over the site, taking pedestrians from London Bridge Station to Guy’s Hospital, and places beyond. Most of the other photos were taken from on that bridge.

What surprises me now is how chaotic it all looks, especially when I zoomed in on a particular bit of chaos.

What that lumpy cylinder that they are manhandling is, I do not know.

The website to be seen in the final photo seems to be long gone.

Originally posted at Brian Micklethwait’s Old Blog

Photoing The Wheel from Tottenham Court Road

If I had a pound for every time someone’s told me that they like to photo The Wheel from Tottenham Court Road, I wouldn’t have any more pounds than I already have, because it’s just me that likes to do this. But, I really like it.

I’m talking about photos like this one:

Great light there, don’t you think? It could be an oil painting. Exactly as it came out of the camera, no Photoshop(clone)ing. That dates from April of 2015. As you can see, that weird entrance to Tottenham Court Road Tube station was still under construction.

Here’s a couple more, taken in 2016 …:

… and in 2017:

That crane there should have told me that something ominous was in the works, but actually I was taken by surprise.

Take a look at what the same scene looked like today:

That’s right. The Wheel is about to be blotted out of this particular picture.

I moved nearer, which moved the top of the Wheel down to the bottom gap in the structure:

I took a final close up:

And that may well be the last time that I ever photo The Wheel from Tottenham Court Road.

Originally posted at Brian Micklethwait’s Old Blog

Roof clutter viewed through an RCM window

Yesterday I attended a Master Class at the Royal College of Music, in which five singing students, GodDaughter 2 among them, were publicly instructed by distinguished tenor and vocal teacher Dennis O’Neil. It was fascinating. He spent most of the time focussing on the art that conceals art, which meant that I couldn’t really understand what he was saying. The minutiae of sounds and syllables, and of where the sound comes from, in the head or in the body. All like a foreign language to me, but it was fascinating to expand the range of my ignorance, so to speak. I am now ignorant about a whole lot more than I was.

This all happened way down at the bottom of the RCM, in the Britten Theatre (which you go down to get into but the theatre itself stretches up to the top again), On the way back up the numerous stairs to the street level entrance, I saw, through a very grubby window, and photoed, this:

Okay the window is indeed very grubby, but, you know, how about that? All that roof clutter, buried in the middle of the College. Although, I think that this particular clutter is part of Imperial College, which is next door.

Backstage architecture, you might say.

The Royal College of Music is as amazing an accumulation of architectural chaos as I have ever experienced. It must take about half of your first year to learn where everything is, and years later you are probably still getting surprises. I never knew this was here! Etc.

That corridor made of windows, bottom left, with the light in it, is something I have several times walked along, to a canteen or a bar or some such thing, I think. By which I mean that I think I have walked along it, but that this could be quite wrong. Like I say: architectural chaos. I took a look at the place in Google Maps 3D, but I still have only the dimmest Idea of where I was on the map.

The night before, I was at the Barbican Centre, also for some music, and that’s almost as architecturally chaotic as the inside of the RCM. But there, they don’t have the excuse that the architectural chaos accumulated over about a century of continuous improvisation. At the Barbican, the chaos was all designed and built in one go.

Originally posted at Brian Micklethwait’s Old Blog

150 great things about the Underground: Number 122

This:

Photoed by me last night. And explained here. The Metropolitan Line came up with this logo just after the regular London Underground logo was devised. Now this version of it survives, but only on platforms at Moorgate that are no longer used.

Weird.

In the twentieth century, weird is all it would have been. Then forgotten. Just another of life’s little mysteries. But, in the age of the internet, there are no little mysteries.

Originally posted at Brian Micklethwait’s Old Blog