Video proof here.
In among all the vile bile, Twitter continues to serve up good Other Creatures news, especially in video form.
Here, for instance, is evidence that when it comes to shifting stuff around, while simultaneously showing a bit of common sense, robots would appear to have some way to go before they will be entirely replacing the working class.
Here is a delightful photo of two pigeons, who are checking out a photographer who is trying to photo a ceiling.
On a more melancholy note, Mich Hartley tells of the Soviet whale “decimation” of the middle of the twentieth century. Decimation however, is surely the wrong word. It was far worse than that. The writer whom Hartley quotes seems to think this means killing nine out of ten, because he talks of whale species being “driven to the edge of extintion”. But decimation wasn’t killing nine out of ten members of a Roman legion. It was killing one in every ten. It was to punish, not to extinguish, a legion. That verbal quibble aside, there can’t be too many reports of what an insanely destructive economic system the USSR imposed upon all its victims. And its victims were not only human.
Yesterday I walked across Vauxhall Bridge. It’s been a while since I have done this, which is why I only yesterday discovered that just opposite the MI6 building there is a frenzy of excavation activity, in connection with the new giant sewer that they a building along the river.
Here are the photos I took of all this grubbing:
And here is the sign on Vauxhall Bridge Road next to all this activity:
AEF stands for Albert Embankment Foreshore. It seems that all the “Tideway” (i.e. the sewer) sites of a similar sort have a three letter acronym to identify and distinguish them.
This particular location would surely make a great place for James Bond to start doing crazy things in the sewer. All you need is a small passage connecting the sewer to the MI6 building, a distance of about twenty yards, and boom. Away we go, with a car chase or a scooter chase or something, along the sewer. This could all kick off after they’ve finished building the sewer, but before the sewage is actually pouring along it. Maybe while people are inspecting it, to check that all is well, which is why it would be suitably illuminated.
Maybe the chase could precipitate the arrival of the actual sewage for the first time, prematurely, by something like a switch being knocked against by mistake. Both Bond and the Baddie could be overwhelmed by shit in the course of their chase. Along with a whole tribe of health and safety inspectors. That would get a cheer in cinemas.
Trouble is, I seem to recall the MI6 building being destroyed in a previous Bond movie. But what the hell. James Bond keeps being “reinvented”. So maybe the MI6 building could be reinvented, just as it always was before it got wrecked.
It turns out my recollection is faulty. The entire building did not get blown up (in Skyfall). There was merely a rather small explosion, destroying only Dame Judi Dench’s computer, inside the building.
Come to think of it, “Tideway” might be a rather good Bond movie title.
But it does very well without one.
I’ve included “War” in the category list below, because the battlefield is surely one of the places where these contraptions will make their creepy presence particularly felt.
ABC News reports, with video:
This very responsible turkey halted traffic on a two-lane road in New Hampshire until the entire flock was able to cross.
Via Roz the Crime Fiction Writer, who says:
He has the exact demeanour of our old school lollipop lady.
Pigeons and foxes aren’t the only ones who have adapted to human civilisation.
Last night, United crushed in the Champions League by Barca, in Barca. And tonight – glory be – City knocked out by Spurs in a mad scramble of a game in Manchester. So, Spurs win without Kane. They’ve been doing a lot of that lately.
Did you see that result coming? I didn’t, and especially not after City scored after about one minute. And then, after about three more minutes it was 2-2. Bonkers.
Are there any Mancunians who support both United and City against all comers? The way I support all the London teams? If so, such persons had a bad two nights.
Meanwhile, what’s happening at the top of the Premier League means that I am having to set aside my London-wide support for the duration. Man City or Liverpool are going to win it. But Spurs, Arsenal and Chelsea are now competing for two Champions League spots next season. So, when Liverpool recently played Chelsea, I found myself, albeit with a heavy heart, supporting Liverpool. Chelsea lost, which meant Spurs stayed ahead of them. Hoo. Ray.
THE FOLLOWING EVENING: Well, I’m back to supporting Chelsea and Arsenal, against Slavia Prague and Napoli respectively, in the Europa League. Both are strolling it. Go, London! Asks the BBC footy feed:
Are we heading for an all-English Champions League final AND an all-English Europa League final?
Despite Brexit. It would be a lovely thing to see, but there’s a bit to do for that to happen. Like Spurs and Liverpool beating Ajax and Barca.
Jamie Hannah is a friend of GodDaughter2, as a result of him having spent a year at the Royal College of Music, going from being a good countertenor to a rather better countertenor. But now he’s giving the pop star thing a go. Judging by his latest video, I reckon the plan just might work.
I’ve heard Jamie Hannah in action twice before, once live and once in the form of a recording. In terms of performing savvy and persistence and general attitude; he seemed to be going about it the right way, but the actual sounds he was making didn’t sound to me that distinctive: Any friend of GodDaughter2 is a friend of mine. But not having anything sufficiently positive to say about Jamie’s work, I kept quiet about it here.
As you can see, that has now changed: If this new video is anything to go by, Jamie is now making much more use his strength; which is his very distinctive countertenor voice.
And, although I know nothing of the technicalities of such things; the production side – the sheer sound of the musical backing and the general ambience – sounds to me like it has taken a big step in the right direction. Whatever he is now doing, I hope Jamie Hannah keeps at it.
Judging by a lot of the comments at YouTube, it would appear that a certain Boy George feels similarly.
Today, thanks to GodDaughter2, who is a singing student, I got to see a dress rehearsal of a new opera being staged by English National Opera called Jack The Ripper: The Women of Whitechapel. I had my camera with me, but these places don’t encourage photography, so I was assuming I’d emerge from the Coliseum with only the memories of what we’d seen and heard.
The story was, of course, gruesome, and GodDaughter2 grumbled about the lighting, which was relentlessly dark and depressing. However, the music was pleasingly tonal, drenched in melodies, and most especially in harmonies, of a sort that seemed, in my youth half a century ago, like they’d vanished from the world of new opera for ever.
Back in that stricken post-Schoenbergian musical no-man’s-land, posh music was thought to “progress”, like science. And it had progressed up its own rear end into unmelodious, unharmonious, unrhythmic oblivion, and because this was progress, no way back was permitted. But then, that was all blown to smithereens by the likes of Philip Glass and John Adams. Iain Bell, the composer of Jack The Ripper, operates in the musical world established by those two American giants.
So even though we were about a quarter of a mile away from the action, up near the ceiling, and thus couldn’t make out anyone’s face, just being there was a most agreeable experience.
And then come the curtaln call at the end, there was another nice surprise:
That being the final surtitle of the show, to be seen in the spot up above the stage where all the previous surtitles had been saying what they had been singing. So I got my camera out, cranked up the zoom to full power, and did what I could.
The curtain calls looked like this:
I was particularly interested in the lady in the yellow dress, on the right of the four ladies (guess what they all had in common), because that lady was Janis Kelly, who is GodDaughter2’s singing teacher at the Royal College.
Rather disappointingly, for me, was that most of the photos I took of Ms Kelly were better of the lady standing next to her when they were taking their bows, a certain Marie McLaughlin:
But I did get one reasonably adequate snap of Ms Kelly, suitably cropped (the photo, I mean) to remove Ms McLaughlin, whose nose had been sliced off in the original version that had emerged from the camera:
My camera now has much better eyesight than I do, and the gap seems to grow by the month. Okay, that photo is rather blurry. But there was a lot of zoom involved. I only managed to decipher about a third of those surtitles. One of the key members of the cast was black, but I only found this out when I got home and saw her in one of my photos (see above).
I hope a DVD, or perhaps some kind of internetted video, of this production emerges. And I think it might, because this is a show full of pro-female messages of the sort that appeal to modern tastes, and featuring one of the most spectacular exercises in toxic masculinity in London’s entire history.
I’m now going to read the synopsis of the show at the far end of the first link above, to get a a more exact idea of what happened.