Screenplays, and plays on screen

Over the weekend, I enjoyed two quite different things which had more in common than I first noticed. I mean, saying that, they were both fictional things being performed by actors, and they were both loosely based on actual events. Murders, even.


The first was The Christchurch Murder, an Allegra-produced Radio 4 drama which tells the story of the notorious Parker/Hulme murder in 1954 in New Zealand. The murder of a mother by her daughter and a friend, both in their teens, also formed the plot of Peter Jackson’s 1994 weird and hypnotic Heavenly Creatures.

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Heavenly Creatures, 1994 (dir. Peter Jackson)

This version, though, was written back in 1988 by Angela Carter, and apparently inspired some of Jackson’s own adaptation. Carter died in 1992 aged 51. Until this past Saturday, the Carter screenplay had never been produced. And so it was fascinating to hear it played out on Radio 4 twenty years after it was written.

But what was almost as fascinating as the story itself was that this was a screenplay on the radio. I’ve listened to a fair amount of drama on Radio 4 but this is the first time I can recall listening to a screenplay, complete with directions. It was a bit like watching a film with audio description on.

It made for a very multi-layered experience: we had the directions (such as “She enters the room, noticing all the pictures on the mantelpiece. There is no picture of the wedding.”), then Carter’s narration, and then well-acted dialogue and Foley effects playing out alongside. The murderous teenagers are played terrifically by Dolores Carbonari and Erin Wallace in a giggly, chilling fashion.

It was interesting to hear the subtle differences between Carter’s and Jackson’s adaptations. And the less subtle: name changes, and a complete lack of the fantasy elements that make Jackson’s film so unusual.


The second was Hitchcock’s 1948 film Rope, which I had seen before many years ago, but had all-but forgotten. It was a gripping watch. The dialogue is rich and fast and funny and unsettling. In fact, the whole film is very unsettling, and it has that great vibe of just waiting for someone to get caught out.

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The set of Rope, 1948 (dir. Alfred Hitchcock)

But, inevitably – because my brain cannot sit still for five minutes – what really fascinates me is the production. Those long, unbroken takes. The wide, linear set. The view out of the vast window – as artificial as it seems, but as carefully as it is made to show the passing of time. The way how, on the one hand, we are shown a whole scene as if it were a play, and on the other the camera trundles along behind two characters having a private conversation which we are privy to.

It’s all very clever, and it makes for a gripping narrative.

The film also looks pretty glorious, in a sort of muted, early-colour-film way. I believe it was Hitchcock’s first colour film, and the idea of him using such a film to experiment with long, uncut takes – including one over ten minutes, which I believe was about the limit of the film reel at the time – all brings to mind Christopher Nolan chucking gigantic IMAX cameras into scenes that were otherwise deemed impossible, and getting stunning results.

It’s always interesting to see a play that’s been turned into a film but, in the case of Rope, it seems like Hitchcock actually went to more effort to keep it feeling like a stage play than he would have if he’d filmed it as a more ‘traditional’ film with A/B shots (or do I mean reverse angles?) and so on.


Rope is currently showing on Mubi, a fantastic movie streaming service which values quality over quantity.

Every day they add a film of note and keep it online for a month. This means you always have thirty films to choose from, and they’re generally really great. There’s a scattering of films you know and love, a few you know you need to see but haven’t yet, and a decent amount that you’d probably never come across any other way. Pro-tip: the app works really nicely on the Amazon Fire stick, but it’s available on loads of platforms.

Mubi is a subscription service but you can grab a free month with my Mubi referral code:

https://mubi.com/t/web/global/fpiivi3

A week away

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Last week, M and I spent a week in Hampshire, camping near the New Forest.

We weren’t familiar with the area, so it was a great opportunity to explore, unfurl the OS map, and do a tour or two. We were blessed with mostly excellent weather which meant for spending hours outdoors, cooking and winding down, and doing some fun outdoor things like learning to paddle board and exploring castles. Maybe I’ll write more about some specific activities soon, but for now I felt like scribbling a brief write-up.

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The weather wasn’t totally perfect – one night we were woken by what sounded like a heavy shower, but fortunately our tent held up pretty well. The worst weather episode was saved up for the morning of our packing up, because of course.

In fact, the severity of the wind and rain was such that our tent – and others around us – actually buckled a little. Pegs which had been driven into the hard, drought-addled land suddenly worked loose in the deluge. And then the wind lashed the weakened structures and it all felt a little bit apocalyptic for a few moments.

Thankfully the storm blew over within an hour or so, and the wind lingered after the rain had ended so that our tent was very much blown dry before we needed to pack it away.

It struck me at the time that it would be a great opportunity for a tent manufacturer to see exactly how different kinds of tents and gazebos react to such weather. I would guess that they conduct tests in wind tunnels or similar, but to actually see the failure points – particularly on tents erected by actual campers, literally in-the-field – would surely be very helpful.

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Mostly what was nice about the week was just being outside for so much of every day. It tunes your senses to the natural world in a way that’s harder to do as you go about your day-to-day life in the city. I remember noticing the wind had changed one morning; lo and behold, it heralded a change in the weather.

I also have fond memories of the swifts darting about the site in the evenings – some whirling around in the trees, and others running low-flying raids mere centimetres above the grass for tens of metres at a time.


Our relatively remote location down near the south coast was also great for a bit of playing with radios.

In London I put up with the inevitable fog of radio interference that comes with densely packed residential areas. I’m lucky to be able to pick up a decent amount of shortwave stations there, but when visiting as rural as location as we were down near Milford-on-Sea, it still blows me away to hear the difference in the number and clarity of signals I can receive.

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A radio nerd, radio nerding

I spent a few evenings DXing on shortwave, seeing what I could find. Mostly the usual, but what was most enjoyable was just how clear so many stations were. The bigger stations boomed in with a strength and clarity approaching that of a nearby FM station. Meanwhile, other weaker stations – including the Dutch pirates – came in with enjoyable levels of signal. At home I can sometimes pick them up amongst the murk and the mire of interference. But it was nice to be able to actually listen to these stations for a short while.

The biggest ‘problem’ I was blessed with was the sheer number of stations I could pick up – automatic band scans regularly logged more than a hundred signals, and it was a constant compromise between checking out one station before wanting to carry on to the next.

I also had a few scans on FM – not an awful lot to be found where we were a mile or two inland, but down on the coast I was overrun by clear, loud French stations, which is a neat novelty. I was picking up more French stations than English – probably 30 or so foreign broadcasts creeping across the Channel versus the 15 or so local and national ones I had expected.

And, as I find myself doing more and more, I tried some DAB DXing on a small portable receiver, with mixed results. I didn’t log any foreign multiplexes, which was a little surprising given the number of strong French FM signals, but I did get a good range of British ones coming from all along the south coast, including the quite experimental selection on the Portsmouth trial operated by Solent Wireless. However, quite often I would find that although the multiplex was logged, actually tuning to a station would fail, so the signal must have been pretty weak.


I’m still working through the photos I took on my ‘proper’ camera, so I’ll be adding some to Flickr over the coming weeks.

Flickr’s a funny old place. Literally old, in web-years. And I go through phases of thinking it’s irrelevant in today’s web, to spending whole hours looking at photographs taken by others, and finding myself enthralled, enrapt, and inspired to take more and better photographs of my own.

It’s also recently been bought ‘back’ from Yahoo! by SmugMug, which either sounds like it’s a step in the right direction for a new future, or further scratches the nostalgic itch that Flickr belongs to ‘the old web’ and its attendant community.

But then I realise that, like a lot of these things, it’s just whatever you want to make of it, and if I want Flickr to be useful to me – and at the same time that makes me want to be a better photographer? – then so be it.

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https://www.flickr.com/photos/paulcapewell

International Dawn Chorus Day and Soundcamp

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This weekend is International Dawn Chorus Day. The first Sunday in May has become a good moment to stop and enjoy the increasing cacophony of natural sounds as Spring settles in.

Depending on your feelings, this can be little more than a half-noticed thing on a warm night with the window left open. Or it can be something worth waking up early for – to seek out some nearby woodland or farmland and really get amongst it.

If you want to go another step further, you could even listen to Soundcamp’s live audio show, a 24-hour broadcast called Reveil aiming to capture the chorus as it rolls across the face of the globe. There are also various Soundcamps taking place: literally campsites for like minded folks to turn up and listen in to the dawn chorus as it unfolds.

You can even take part in the audio feed by streaming your local environment  via microphone and internet connection, and allowing the main feed’s curators to bring in your sounds. There’s a lot more information on how to do that, and the project in general, here.

The great thing is that this won’t sound the same everywhere – for some it’ll be a familiar twittering, but elsewhere it might be captured by hydrophones bobbing in the ocean waves.

Starting on the morning of Saturday 5 May just before daybreak in Rotherhithe near the Greenwich Meridian, the Reveil broadcast will pick up these feeds one by one, tracking the sunrise west from microphone to microphone, following the wave of intensified sound that loops the earth every 24 hours at first light.

In 2018 Reveil features new streams from the UNESCO Monarch butterfly Biosphere Reserve at Cerro Pelón, State of México, the Noosa Biosphere Reserve in Queensland, Australia, a gull colony on South Walney Island, Cumbria, UK

The broadcast will run from 5am on Saturday morning until 6am on Sunday morning.

Whatever the source of the audio, you’ll be able to tune in online here, or in London via Resonance FM, who will play snippets including 5am-6am and 10.30pm-12am on Saturday, and Resonance Extra, which will be playing the whole thing live. Resonance Extra was recently added to the DAB Trial London multiplex.

 

Shortwave DX log for evening of Thursday 15 March 2018

Logged via Tecsun PL-380 in NW London (currently GMT so UTC+0) via long wire antenna.

I’m still getting to grips with SINPO ratings and this Android app for logging; until now I’ve used a notebook and pen and rather fuzzier ratings like ‘fair but some interference’. But the app provides a decent, fast, offline schedule lookup, and the built-in logging function does 90% of what I would want it to.


5935Khz RADIO ROMANIA INT. (ROMANIA) in ENGLISH from TIGANESTI. SINPO = 53443. 2098KM from transmitter at Tiganesti.
5955Khz RADIO ROMANIA INT. (ROMANIA) in SERBIAN from SAFTICA. SINPO = 43333. 2170KM from transmitter at Saftica.
5970Khz CHINA RADIO INT. (CHINA) in FRENCH from CERRIK. SINPO = 43233. 1938KM from transmitter at Cerrik.
5990Khz RADIO ROMANIA INT. (ROMANIA) in ROMANIAN from GALBENI. SINPO = 44444. 2015KM from transmitter at Galbeni.
6010Khz CHINA RADIO INT. (CHINA) in AMOY from URUMQI (XINJIANG, CRI). SINPO = 43323. 6159KM from transmitter at Urumqi (Xinjiang, CRI).
6070Khz CHANNEL 292 (GERMANY) from ROHRBACH. SINPO = 21111. 899KM from transmitter at Rohrbach.
6160Khz CHINA RADIO INT. (CHINA) in GERMAN from XIAN-XIANYANG (SHAANXI). SINPO = 33222. 8260KM from transmitter at Xian-Xianyang (Shaanxi).
7245Khz TRANS WORLD RADIO (UNITED STATES OF AMERICA) in TIGRE from GRIGORIOPOL. SINPO = 32112. 2177KM from transmitter at Grigoriopol.
7275Khz CHINA RADIO INT. (CHINA) in MANDARIN from URUMQI (XINJIANG, CRI). SINPO = 32222. 6159KM from transmitter at Urumqi (Xinjiang, CRI).
7340Khz CHINA RADIO INT. (CHINA) in ITALIAN from KASHI (KASHGAR) (XINJIANG). SINPO = 54444. 5807KM from transmitter at Kashi (Kashgar) (Xinjiang).
7360Khz CHINA RADIO INT. (CHINA) in FRENCH from CERRIK. SINPO = 53433. 1938KM from transmitter at Cerrik.
7375Khz RADIO ROMANIA INT. (ROMANIA) in ROMANIAN from GALBENI. SINPO = 54444. 2015KM from transmitter at Galbeni.
7395Khz CHINA RADIO INT. (CHINA) in GERMAN from KASHI (KASHGAR) (XINJIANG). SINPO = 54333. 5807KM from transmitter at Kashi (Kashgar) (Xinjiang).
7405Khz CHINA RADIO INT. (CHINA) in ENGLISH from BEIJING-MATOUCUN (CRI/CNR). SINPO = 42332. 8209KM from transmitter at Beijing-Matoucun (CRI/CNR).
7480Khz RADIO PAYAM E-DOOST (CLA) in PERSIAN from GRIGORIOPOL. SINPO = 44343. 2177KM from transmitter at Grigoriopol.
7495Khz VOA DEEWA RADIO (UNITED STATES OF AMERICA) in PASHTO from BIBLIS. SINPO = 43333. 647KM from transmitter at Biblis.
7550Khz ALL INDIA RADIO GOS (INDIA) in ENGLISH from BANGALORE). SINPO = 54444. 8011KM from transmitter at Bangalore).
9400Khz BROTHER STAIR (UNITED STATES OF AMERICA) in ENGLISH from SOFIA-KOSTINBROD. SINPO = 44343. 2027KM from transmitter at Sofia-Kostinbrod.
9495Khz VOICE OF TURKEY (TURKEY) in SPANISH from EMIRLER. SINPO = 43233. 2867KM from transmitter at Emirler.
9555Khz BSKSA 1 (SAUDI ARABIA) in ARABIC from RIYADH. SINPO = 31111. 4955KM from transmitter at Riyadh.
9570Khz MWV NEW LIFE STATION (MADAGASCAR) in RUSSIAN. SINPO = 43232. Local time: 1822.
9590Khz BBC (UNITED KINGDOM) in SOMALI from MEYERTON. SINPO = 32112. 9062KM from transmitter at Meyerton.
9615Khz CHINA RADIO INT. (CHINA) in GERMAN from URUMQI (XINJIANG, CRI). SINPO = 32222. 6159KM from transmitter at Urumqi (Xinjiang, CRI).
9660Khz RADIO VATICANA (VATICAN CITY STATE) in PORTUGUESE from SANTA MARIA DI GALERIA. SINPO = 54344. 1415KM from transmitter at Santa Maria di Galeria.
9675Khz BSKSA RIAD (SAUDI ARABIA) in TURKISH from RIYADH. SINPO = 44444. 4955KM from transmitter at Riyadh.
9715Khz BIBLE VOICE (UNITED KINGDOM) from MOOSBRUNN. SINPO = 44333. 1248KM from transmitter at Moosbrunn.
9830Khz DEUTSCHE WELLE (GERMANY) in HAUSSA from PINHEIRA. SINPO = 43433. 5727KM from transmitter at Pinheira.
9870Khz BSKSA 1 (SAUDI ARABIA) in ARABIC from RIYADH. SINPO = 43333. 4955KM from transmitter at Riyadh.
11900Khz VOICE OF AMERICA (UNITED STATES OF AMERICA) in AMHARIC from MEYERTON. SINPO = 32121. 9062KM from transmitter at Meyerton.
11975Khz BBC (UNITED KINGDOM) in FRENCH from ASCENSION ISLAND. SINPO = 53332. 6684KM from transmitter at Ascension Island.
12065Khz BBC (UNITED KINGDOM) in TIGRINYA from MEYERTON. SINPO = 21111. 9062KM from transmitter at Meyerton.
13630Khz VOICE OF AMERICA (UNITED STATES OF AMERICA) in PORTUGUESE from MOPENG HILL. SINPO = 32221. 8536KM from transmitter at Mopeng Hill.
13845Khz DR.GENE SCOTT (UNITED STATES OF AMERICA) in ENGLISH from NASHVILLE, TN (WWCR). SINPO = 22221. 6734KM from transmitter at Nashville, TN (WWCR).
15200Khz DEUTSCHE WELLE (GERMANY) in HAUSSA from MEYERTON. SINPO = 32222. 9062KM from transmitter at Meyerton.
15400Khz BBC (UNITED KINGDOM) in ENGLISH from ASCENSION ISLAND. SINPO = 43433. 6684KM from transmitter at Ascension Island.
15490Khz BBC (UNITED KINGDOM) in FRENCH from ASCENSION ISLAND. SINPO = 44343. 6684KM from transmitter at Ascension Island.
15580Khz VOICE OF AMERICA (UNITED STATES OF AMERICA) in ENGLISH from MOPENG HILL. SINPO = 32332. 8536KM from transmitter at Mopeng Hill.

 

2018 Weeknote 10

I’ve done ten of these now, so I guess it’s A Thing? Admittedly I’ll need to do another 42 to make it official, and that seems like a bewildering number, but it feels like A Thing, so long may that continue.

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After the previous week’s snow, it was back to business as usual at work, for the most part. There’s a lot of seasonal admin going on at the moment – some big mailouts. My office has a very cyclical nature to it, which I enjoy, as you can usually tell what’s happening, or predict busy periods and lulls, and organise your work accordingly. It also provides semi-artificial deadline, and lord knows I need a good deadline. Amongst very estate-y tasks was spray-painting potholes on one of our private roads, which was rather satisfying.

I also made some more progress on the two websites I’m working on in my own time. They’re close to being ready now, which I’m pleased about. Both clients are very helpful in their feedback and vision for how they want things to look and feel. It’s been a very positive experience so far.


I can’t resist a good thinkpiece about daily routines or media consumption, so it’s no surprise that that NY Times one about news consumption and that Atlantic one about retweets caught my eye.

After the NY Times piece I found myself nodding along with most of it, and was pleased to find that Phil Gyford‘s ace Guardian Daily is still working well. It strips out the content of each day’s paper into just clean text and some images, and makes the whole thing swipeable in a browser. Crucially it allows the reader to focus only on the story (not easy on the full Guardian website), and it provides the sense of a finite, finishable object that the likes of Craig Mod and others so often hail. It also had me reaching for stockists of the Guardian’s excellent Weekly edition, but I can’t seem to find any; it only seems to be available by post in the UK. I might try a trial. It made more sense when keeping up with news while in, say, New Zealand. But actually the weekly round-up nature of it – the slow news aspect – seems more appealing than ever in this current age of breaking news.

And the Atlantic piece about retweets made some sense. I quite like some retweets. They’re a nice way to diversify your feed (only a little, mind you – the echo chamber is a persistent issue), and they often bring items of interest. But they also provide items of little interest – and worse, they often come without comment. My friend retweeted this thing, but what do they feel about it? It’s not as simple as just assuming they agree 100%. It might be promotion of a serious issue, or just a quick meme that made them chuckle. Context is important.

As the piece mentions, there’s no easy way to turn off retweets globally, although my third party app of choice Flamingo has such a feature. And even better, it allows quoted tweets to show – and these are the ones I want to see. They provide the all-important context.

My plan is to go retweet-free for the rest of the week, and then turn them back on globally, turning RTs off on a per-account basis until I reach a happy medium.


M and I watched series one of Spaced this weekend, and it’s the kind of show I can virtually quote word-for-word. It’s been some years since we both watched it, and although elements still cut deep as they’re so well written or edited, other stick out like a bizarre anachronism: ringing someone’s landline from a payphone in the pub? Smoking in a nightclub?! But it’s reassuring how much of this 1999 TV series remains hilarious and ‘cutting edge’, nearly twenty years on. Series two next.

I made more progress in Banished, you’ll be pleased to hear. I’ve got my community up to 150 or so adults, with plenty more children and students on their way. The game still occasionally feels like a grind, but the realism of the mechanics of the town’s expansion – oh no, the cemetery is full, I’d better build a new one – are engaging. I’m concerned that the game is a bit too open-ended. There’s no narrative or end-game (that I know of). So at some stage I will just have a steadily increasing town. There’s also no development of eras like some games have – where you’ll transition through styles of architecture or technology, say. Still, I’m still some hours away from the first perceived achievement level of 300 citizens, although I did get some cute awards for having a very happy town, and a very healthy town.

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I was bored on a train platform this week, so I was tuning round on my handheld DAB radio and stumbled on Forces Radio BFBS at a time when they were playing classic rock and indie. It provided a nice distraction, and I was a little stunned to see that the DAB+ station was streaming at a paltry 24kbps! I’ve seen other stations just scraping by on 32kbps, and they tend to be predominantly spoken word. But here was a music show sounding pretty decent on very little bandwidth.

In fact, the only audio glitch I could discern was the intro of the Clash’s Should I Stay or Should I Go which has some stereo separation which wasn’t being properly played out.

A brief scan of Wohnort tells me that this is the lowest bitrate of any DAB station, certainly nationally (apart from data services), and it’s very promising to hear such efficient compression sounding so reasonable.


On Thursday I went back to Oxford for the second time in recent weeks. This time I had tickets to see the wonderful Youthmovies play their first gig in eight years, and I was thrilled to see the Audiograft festival was taking place while I would be visiting, so I made some plans to enjoy some of the installations and performances from the audio/noise festival.

Now that I know the layout of Oxford a bit better, and I’ve scoped out a few good pubs and eateries, it’s a nice little city to wander round.

I made sure to visit the Natural History and Pitt Rivers museum(s?) this time, and loved them both. The former is well-lit under a glass roof, and has a classical, elegant display of animal skeletons inside a gorgeous neo-Gothic building. And the latter is a vast collection of antique display cases of various items from around the world. It’s a darker space, and has the air of rooting around a closed museum or even a particularly well-stocked attic space.

Unlike other museums with similar ethnographic collections, the Pitt Rivers lumps items of a kind together in one area. So here you’ll have writing instruments, or there you’ll find timepieces. Or, more specifically, you might find Treatment of Dead Enemies, or Charms and Amulets. It makes for a fascinating selection, particularly seeing such contrasting objects cheek by jowl across cultures.

After the museums and a much-needed pint – outside in the Spring sunshine! – I headed to OVADA, an exhibition space in an old industrial building. Inside I found installations of sound experiments, including vinyl records playing a Morse code version of Keats’ Ode to a Nightingale which was then received by a device that attempted to decode and display the words. It did this through a thin veil of recordings of birdsong and other ‘interruptions’, causing small glitches in the text. I was pleased to find that the artist Kathy Hinde was around to explain a little more about her installation Twittering Machines.

Elsewhere I also found Sally Ann MacIntyre’s Study for a Data Deficient Species (Grey Ghost Transmission). It was a necessarily small (portable!) installation, with an enchanting recording I had also encountered via the recent Radiophrenia broadcasts. I’ve followed Sally Ann’s blog radio cegeste for a number of years, so it was nice to come into contact with her work at OVADA thanks to Audiograft.

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The space at OVADA affords a number of opportunities for installations like this one, but also some compromises. On the one hand it is a large space and allows for a number of installations to co-exist without feeling too crammed in. On the other hand, as some of these works are by their very nature audible, they compete for attention as they reverberate around. This worked quite nicely for the most part: hearing birdsong interrupted by music, impersonated birdsong, and the staccato human-spoken binary of Simon Blackmore’s How We Communicate made for quite a mixture of sounds and audio textures quite in line with the other textures on show, whether part of an installation or the fabric of the building itself.

An example of the aural environment on my visit to OVADA can be heard below:

Later, I made my way to the beautiful Holywell Music Room where I was pleased to catch three of the evening’s four pieces.

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It’s a gorgeous space, I’m sure, for any type of music and performance. But the three pieces I caught were all experimental in their own different ways. First was a wordless exploration of human vocal sounds in response to external stimuli – thought not strictly to my taste, I enjoyed the fact that such a performance found a home in such a space; they suited each other in their own unusual ways.

Next was an interesting cross section of nerdy audio experimentation and sheer noise. A series of four cymbals was placed upon individual speakers, through which sound was passed, causing the cymbals to reverberate. This was then, I believe, fed back into the speakers. It was essentially twenty minutes of feedback, but finely tuned, and the aural equivalent of seeing coloured dye dropped into clear water and watching as it swirled slowly, forming organic or pseudo-random patterns.

The last piece I caught was, I think, an interpretation of a simple narrative of house and the stories it held, told through spoken word, projected video, and overhead transparencies.

It caused me a little amusement that all three pieces suffered from the “It’s not finished!…. It’s finished!” issue as parodied in Spaced. But I was so glad to have caught such a diverse set of performances. And all as a ‘pay what you decide’ format, with anonymous donations upon leaving.

I would’ve been more sad to miss the last act, were I not headed to the Bullingdon for the Youthmovies show.

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It’s hard to summarise the show, really, as the band take up so much emotional space in my head, having soundtracked significant episodes in my life, some wonderful and some less so. But seeing a band play for the first time in eight years – in honour of a departed friend of theirs – was as emotional and uncanny and yet familiar as I had hoped. Fittingly, it wasn’t a perfect performance. They played songs they hadn’t played together in years, and most of them feature quite unusual time signatures. But it felt like a 100% positive and uplifting experience for all present.

As expected, I had forgotten over the years some of the magic of their live performance that made them such a favourite in the first place. Their recorded output will remain a bewilderingly impressive and imaginative selection of tracks. But it’s their immense joy at playing these special songs, and the modesty and passion they display when onstage that makes them a truly special band. It was an honour to have the opportunity to step back into those shoes for one night.


And then this weekend, with nothing much planned, M and I went for a nice walk along the canal on Saturday afternoon. And on Sunday I felt the urge to go for a little run, and ended up covering 22km.

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I had intended to head as far as I could towards the Thames, and to turn back for home whenever I felt like I was flagging. But as Foo Fighters’ My Hero hit its climactic chorus on Whitehall, and Strava announced that I’d hit the 10km mark, I knew I had to continue.

I treat these kind of cross-city runs as something of a sightseeing exercise – people-watching in motion, with some London landmarks thrown in for free.

I’m suffering some aches and pains a day later, but it’s reassuring to know I can still pull that out of the bag every now and then. As Spring comes, I intend to get a little bit of consistency into my running and walking.