Friday, 21 December 2012

Guns and Roses...

Picture courtesy Dipity.com (via Google Images)
I may be wrong, but the Connecticut massacre, on Friday, 14th December 2012, seems to have had even more publicity than many previous mass killings. Perhaps it is because of the fact that this has involved kindergarten infants and their bravely protective teachers, and that it has painfully and poignantly made us all feel the grief to a much greater degree. I felt myself choking up in my own grief, thinking all the while of my own grandchildren, whilst I watched some documentary background on the whole thing the other night.

Equally, but perhaps more uncomfortably, it is not difficult to understand the utterly heart-wrenching position of some parents, who, in life's random deck of cards, are dealt the hand of a child with a mental illness and all the side effects of this condition, both on the child and on their family and wider community. The USA's crisis with mental illness is also easy to understand, and is clearly illustrated in this very moving article, but it is not just confined to the USA. It is everywhere in the world.


The response to the Connecticut killings has, as ever, polarised commentators, politicians arguments and discussion. The anti- versus the pro-gun lobbies are lost in their own arguments about whether or not tighter regulation of firearms is a relevant solution. It does not surprise me, however, that not enough has been made of the discussion about mental illness, quite possibly because it is so often a taboo subject, particularly amongst the better educated and more affluent middle class. 


Let me explain that statement. 


When I point a finger at the 'middle classes' I do so with reservation, but not to be 'accusing', and not just as a reference to the natural process of denial, in a social class for which mental issues could be deemed an 'inconvenience'. There are of course those who have had to endure any number of experiences with children suffering from some form of mental illness, whether this be a less severe form of depression or the most serious mental illness such as that - and this is an assumption, prior to the official conclusion - which it would seem very likely affected the ill-fated young man responsible for the killings in Connecticut. I would, in fact, argue that mental illness knows no class boundaries. It is just as likely, if not more so, to affect the less well educated, the less privileged in society. However, I defer to the educated, affluent middle class, because they are more likely to have the ability to lobby, to articulate and to influence the powers that be, to help create a seed change in attitudes toward mental illness. It is only our denial, our inability to cope with mental illness, that causes this block to genuine progress. Yes, it is very hard to come to terms with mental illness, when it is so close to home.


If I were to summarise my feelings about this disaster, it would be in this way... 

Unlike the central theme of media coverage, which seems to have been focussed solely on the gun laws, I maintain that there is no one single cause that needs to be looked at; no one single course of action, on its own, that needs to be taken in response to Connecticut and all the other killings; there are, in fact, several things that need to happen in parallel. Let me propose at least two of those things.


The first is not only that more resource and education is needed to create a wider and more thorough public awareness, understanding and, perhaps the most important objective of all, acceptance that mental illness is a fact of life. Whilst improving how everyone in society can learn to cope with mental illness is very important, to improve it's treatment by the medical professions is equally so. I have personally witnessed the best signs of the use of CPN (Community Psychiatric Nurse) lead crisis teams to support the individual as well as their family, which is a logical extension of an holistic approach to treatment that enables, empowers the service user as well as the people close to them to assist in the healing process and thereby reduce dependence on the pharmacy as well as the paid professionals. It would appear, on the face of it, that there is a gradual change in the establishment's attitude to the treatment of mental illness, although, from some perspectives, there is still a long way to go! The following article, written and presented in his previous life by friend and Poet, Peter Wilkin, is a revelation to me: "A Feminine Economy of Caring: Gifts and Wrapping". There is also a follow-up article, by Peter Wilkin, that appeals to the poetic as well as to the logical spiritVale of tears or Vale of Soulmaking? Keats’ gnostic vision as an alternative to mainstream mental healthcare’. 


There is another trend emerging. Organisations that promote understanding of mental illness are gaining an increasing presence, particularly with the aid of social media. There are a number of front running organisations like Rethink as well as personalities like Alastair Campbell (search for articles in his blog on the subject of 'mental health' and you'll find plenty), successfully raising public awareness in this way. 


Meanwhile, back in Newtown, Connecticut...


The second thing that must happen, whether or not you are a supporter of the Second Amendment (that part of the United States' Bill of Rights, which protects the rights of people to keep and bear arms), is an old favourite logical argument of mine. Given my scientific training, if you have any understanding at all of the statistical concepts of chance, probability and risk, it cannot be denied, that, whilst tighter firearm regulations will not necessarily remove the risk of these incidents altogether, the irrefutable logic for me is that reducing the ability for everyone to get hold of guns and ammunition, restricting access to firearms, simply must result in a reduction of the probability, the risk of such incidents recurring in the future. The number of firearms in circulation and available to be used, must be proportional to the number of victims of gun crime. If this is not obvious, then please explain to me why? It is a matter of proportion: getting things in proportion to their potential effect on an outcome.


It is unlikely to be coincidence that, following a massacre, at the Scottish Primary School in Dunblane, of sixteen infants and one adult in March, 1996, and the banning in the UK, one year later of handguns, particularly those used in this incident, which were magazine loading semi-automatic weapons, no subsequent such incidents, at least at a school, have recurred. The only subsequent incident, the Cumbria shootings in 2010, was marked by a different set of circumstances, not involving school children, albeit still using guns, but not handguns.


I therefore do not believe that tighter restriction in the availability and ownership of firearms cannot enable a reduction in the risk of such incidents recurring in the United States. Nor can I believe that a sizeable number of United States citizens, particularly parents of small children, don't feel the same way. It may only be those, perhaps with a vested interest in the firearms industry (understandable), as well as those absorbed by the dogma and 'tradition' and almost sacramental belief in the Second Amendment, who oppose such restrictions, and who, I believe, are blinded by that conviction. The Second Amendment, like any law or regulation, anywhere in the world, was written and constituted by people; it can by altered, like any law in any land, by people.


It is people, their mental health, safety and security of their families and communities, which are the most important features of civilised life on earth. So come on, Mr President Obama, have courage to bring about significant change; sow the seeds of such change as could have far reaching consequences, for the benefit of mankind. Let us put down the guns and pick up the red rose 
that represents the love of humanity. 

(The poem, "Rose Petal", which I wrote eighteen months ago, in response to another, but very different signal, seems more than particularly poignant in light of these circumstances).


Friday, 26 October 2012

A Tribute to Our Paralympians

Lest we forget their achievements...

Another poetic collaboration from my friends, the very special Grass Roots Poetry Group.

Enjoy

Saturday, 20 October 2012

There's some Poetic Creativity Going On...

For those interested in what's going on in my world of poetry, here are a few links: -

My Poetry Library is my own library of poetry and occasionally that of my poet friends

dVerse ~ Poets Pub is a meeting place for poets, which has regular events and prompts

New World Creative Union that great supportive nexus of artistic creativity

My Favourite Australian Poet - Marsha Berry

My Favourite New York Poet - Jacqueline Dick

My Favourite New York State Poet - Joe Hesch

My Favourite Dutch-born, South African, German Poet - Quirina Roode-Gutzmer

My Favourite South African Poet - Craig Morris (he's also a Grassland Scientist)

My Favourite Welsh Poet - Shan Ellis-Williams

My Favourite English Poets - Abigail Baker, Peter Wilkin & Louise Hastings

My Favourite Canadian Poet - Natasha Head

My Favourite All-round Creative Nexus - from the USA, Mr Roger Allen Baut

My Favourite writer, supporter, indulger in intellectual debate and all-round good person - Eden Baylee

And there are dozens more to mention... in due course

Thursday, 4 October 2012

A New Song for Torquay United Fans

In the wake of Tuesday night's fantastic result against the Shots...

(To be sung to the tune of Que Sera, Sera)

Que nil-three, nil-three
Whatever will be, will be
Your future will see, Torquay
Que nil-three, nil-three!

Que one-three, one-three
Whatever will be, will be
Your future will see, Torquay
Que one-three, one-three!

Que two-three, two-three
Whatever will be, will be
Your future will see, Torquay
Que two-three, two-three!

Que three-three, three-three
Whatever will be, will be
Your future will see, Torquay
Que three-three, three-three!

Que FOUR-THREE, FOUR-THREE
Whatever will be, will be
Your future will see, Torquay
Que FOUR-THREE, FOUR-THREE! 
Que FOUR-THREE, FOUR-THREEEEEEE!


(Repeat the last verse as many times as you like)

And don't tell me that it's too long for you, because I know Torquay fans have the biggest hearts, the largest lungs and the loudest voices in the whole of the football league!

You are simply the best!

Thursday, 30 August 2012

Every Name That Begins with a 'K'... and some more

Inside Main Stage 1 at Shrewsbury Folk Festival
So, what's all this, then?

I've always wondered what it would be like going to a music festival, taking a long holiday weekend, and roughing it under canvass! More's the point, doing the one thing we always objectively avoid, the very habit of many that fills me with abject horror: going out and driving any distance on the roads of Britain on a Bank Holiday weekend! Well I should cry out loud: never say die, because we did all of these things last weekend!



The Wee Tent
The Shrewsbury Folk Festival did live up to my expectations, but there are a couple of exceptions: (i) a minor one really, but the only two toilet 'wagons' on Campsite 2, where we pitched our tent, broke down for twelve hours, although, when they were operational, they were still kept remarkably clean throughout, which must be as much of a tribute to those of us who used them as to those who maintained them!  (ii) More of a major issue, I'm afraid; there is a notable tendency for some sound engineers to think that folk musicians, like rock musicians, need to rattle the brains of their audiences by Richter scale booming drum and base beats - those that we would not expect this from, namely Kate Rusby and Karine Polwart, in particular, did manage to avoid this sin to keep the sound pure, so that each instrument, the voices and every word were clear and audible, so as to prove that it can be done and still leave their audience in awe. This tendency leaves me in no doubt that the greater the 'noise', the lesser the quality, not just of the sound itself, but of the performers, at least that is the clear statement it makes. Performers themselves do have control over this and, if they don't, then they should focus their resources on getting control, because it is really an unacceptable and sometimes intolerable assault on the hearing; many people whom we spoke with about this were in strong agreement. So, please, Shrewsbury Folk Festival people, will you take note for next year? 

There was a third exception that slightly marred our enjoyment of the weekend, that my wife's back 'went' just before the weekend, so she was suffering a bit. However, she soldiered on through the whole festival very 'womanfully', for which effort I am very grateful. 


DADGAD Workshop
This was a very enjoyable weekend, not least because of the simple arrangements of camping and eating on site, seeing many additional aspects of folk, including a veritable jamboree of country dance and many related activities in the so-called 'Village Square' of the festival's site. We saw all the musicians we came to see, sadly save one, K T Tunstall, who suffered a bereavement and had to cancel, and we became newly aware of several more musicians and bands worthy of note. Musical workshops abounded everywhere, all very well attended. Watching a DADGAD guitar workshop reminded me I should have remembered to take my own guitar, but also how useful a D-tuning this is. Although some purists would say it's a cheat, because chord fingering is 'easier', it actually enables a different tonal quality from the guitar by leaving more strings open. 


Weird Morris costume
I also went to a 'Singaround' workshop, run by Winter Wilson, a very impressive singing / songwriting duo, whom we had seen in concert last year. Uncertain what to expect, I was pretty unprepared for what happened. Sitting in the inevitable circle, each of us were called upon to sing a song, accompanied or unaccompanied. There were a lot of traditional, some funny and some moving songs sung by the others, many of whom were clearly seasoned 'folkies', and many of which we were able to join in the chorus, sometimes very effectively in harmonies. So when it came to my turn, the only song I could just about remember the words to was "The Irish Ballad" by Tom Lehrer; it's dark comic satire seemed to go down well. Anyway, before the end of the two hour session, it came round to me again. I was without any lyrics for another song, or the prop of my own guitar, so I dug out one of my poems! Winter Wilson had just sung one of their own songs 'Storm Around Tumbledown', which had already been covered by none other than John Tams on his album, 'Persona Grata', and which was a moving account of that battle towards the end of the Falklands War. I still found it difficult to read 'Twenty Nine' without choking, but managed nonetheless and I was surprised to be complimented by Dave Wilson; "very well read" he said. I'll happily take that from a songwriter.

Over the past three or more years, I have been trying to learn how to write 'proper' poetry. You know, the flow of words that can make the hairs on the back of your neck stand up, that flood the lacrymal ducts, choke the throat and give you one of those moments, when so much suddenly comes into focus, all at once. It is poetry that enables a way of communicating that sometimes rarely sees the light in our everyday lives; that seeks out feelings, emotions; addresses fears, uncertainties, nay even hangups; brings to the consciousness of many who read it the ability to see another perspective on this sometimes astonishingly complex thing in life, which we call the human condition.

So, as my learning journey continues, I have become more acutely aware of the power of words, the power of that simple turn of phrase to make us feel the passion of the writer. If you then combine these with a tune, a melody, particularly one with more than the obligatory three chords, more even than a C, Am, F, G combination, which we all learn when we pick up a guitar or open the keyboard cover of a piano, the heartstrings are plucked, the soul is seared or the spirit elevated, or maybe all three at the same time.

This last weekend, at the Shrewsbury Folk Festival, as we became immersed for a time in the music and the culture, I felt this most especially. This is not least because we saw a couple of our favourite class acts, Kate Rusby and Karine Polwart, who, for me, are proof, if proof were needed, that a pure voice combined with great lyrics, a soulful tune, a class arrangement and proper delivery of the song can elevate your spirit, sear your soul and pluck your heartstrings like no other art form. But more of the eulogising in a bit.

I should point out that, whilst there, we also saw performances by Vin Garbutt (a very funny entertainer and talented songwriter), Lau, with the talented and distinctive voice of Chris Drever, whose music I could describe as symphonic folk; Show of Hands, comprising of the incomparable Phil Beer, Steve Knightley and singer / double-bass player extraordinaire, Miranda Sykes. We also experienced Plainsong for the first time, sadly on their farewell tour after forty years together; with the rich tones of country music combined with super musicianship and four part harmonies, this band was comprised of Ian Matthews and Andy Roberts (founder members of Plainsong, Ian Matthews himself previously a member of Fairport Convention with Richard Thompson et al), Julian Dawson and Mark Griffiths. Then that Demi-God, Mr. Richard Thompson OBE, himself, who headlined on Sunday night. With just one acoustic guitar and no gismo's to assist him, he graced the stage with a solo performance of many of his great songs. And what a truly remarkable guitarist and songwriter he is - "Vincent Black Lightning 1952", "Persuasion", "Beeswing" and no doubt hundreds more. I am a fan of this man. Such is his virtuosity with the guitar, as if to prove his musicianship, he can be found occasionally to cross over to Jazz amongst several other genres of music, evidence his album '1000 Years of Popular Music' released in 2003.

Kate Rusby
Kate Rusby has the purest of folk voices on the scene, certainly amongst English singers, and is almost certainly back to her best with her new line up of musicians, including her partner and the father of her two children ( so she tells him ;) ) a fine guitarist and seemingly the arranger, Damian O'Kane.

However, in spite of her relatively low billing (first of three acts on Main Stage 1, Sunday evening) it is Karine Polwart who ticks all the right boxes for me, not just from her two performances at Shrewsbury, both of which we watched this weekend, and for both of which she sang different sets of songs, but for all her performances; I've not seen a bad 'un yet. In all, I have bought, and listened to over and over again, well over fifty of her songs and there isn't one of them that doesn't move me in some way; I cannot think of any other singer / songwriters for whom I can say that and, even when she sings what might be described as an 'ordinary' folk song, the tone of her voice and her vocal delivery, giving as she does full value to every word and vowel sound, as well as her cadence, makes her very special to me; and, as a member of a mixed voice choir, I guess I should know a good cadence, when I hear one and how to get my tongue and voice box round a vowel! Add to all of this her musicality, the melodies she composies and the musicianship and vocals of her brother, Steven Polwart and the inimitable Inge Thompson, who provides so much colour to the orchestration and arrangement of Karine's songs, it is almost perfect in every way. I hope this great combination never changes and I have no doubt, at the next opportunity, I shall buy tickets again to see her perform. She will soon catch up with our Kate Rusby in the number of times we have seen her perform.


Karine Polwart
Being at Shrewsbury Folk Festival has brought me in a full circle, because it was three years ago that I first came across Karine Polwart for myself. I bought some tickets and persuaded some friends to come with us to Buxton in Derbyshire to see her in concert. There was one particular song that truly plucked the heartstrings that night, more than most. Karine had composed it as part of the Darwin Song Project at the 2009 Shrewsbury Folk Festival to celebrate the 200th anniversary of Charles Darwin's birth, which became one track on an album that included many devoted to remembering Charles Darwin, not all for his contributions to the theories of evolution and life science. I first heard 'We're All Leaving' at that very first concert three years ago and bought a signed copy of Karine's 'Build Your Own Cathedral' EP, which tells the story of how Darwin might have come to terms with his 10-year old daughter's death. It featured in poet, Kona Macphee's blog post 'Music for Mewling'. She sang it again at both sets she performed at Shrewsbury on Sunday afternoon and evening, only out of respect for the fact that it was spawned at Shrewsbury. It has to be said that I much prefer the first version of this song. The latest version that appears in her latest album, 'Traces', has perhaps a little too much orchestration. For me, this song can stand alone without woodwind and brass, in it's beautifully simple original acoustic version. Goodness me, I'm sorry, KP, but that almost sounds like a criticism! It isn't, honest. I just love the first one too much. (By the way, your new album, 'Traces', is superb; I love it all and I do like the extra orchestrations in all the other songs. So glad you included your 'Trump card', "Cover Your Eyes", it's such a beautiful song).

However famous or otherwise Karine Polwart may become, having met her on Sunday to sign our copy of her new album, I judge her to be an earth mother, someone with her feet on the ground, who does not seek fame for its own sake, but she does merit recognition for her astonishing ability to write lyrics that are poetry in all but name; and music that is so creative, authentic, colourful, spine tingling and a joy to the ears. It is the combination of her poetry and musical composition that will, without question, endure.


Q.E.D.