Symbolic Forest

I mentioned the other day about having a backlog of ideas to write about without forgetting what they are. Some of them have been bubbling around for a few years now, when I’ve read a book or watched something on the telly. For example, a few years ago I was given a copy of the book Yeah Yeah Yeah: The Story Of Modern Pop by Bob Stanley. For the past thirty years or so, Stanley has been one third of the band Saint Etienne, who I’ve loved almost as long, and who right from their start in the late 80s have made pop music that cuts across categories, combining fantastically catchy pop hooks with lyrics that are pitched at just the right level between meaningful and slightly inane; but at the same time squeezing in London hip hop, club beats and art school sound collages. Their first album combines pop bangers like “Nothing Can Stop Us” with voice clips of Richard Whiteley and Willie Rushton; the second has excerpts from the 1960s British films Peeping Tom and Billy Liar, and a man ordering chicken soup.^* Their songs “Like A Motorway” and “Hate Your Drug” are arguably the best attempt anyone has ever made to revive the 1960s “death disc” genre,^** but at the same time they care as deeply about London psychogeography as Geoffrey Fletcher, Iain Sinclair or Patrick Keiller. In short, they cover such a broad area in their music, that it is not surprising Stanley wrote a broad, broad book.

Yeah Yeah Yeah is a history of British and American pop music from roughly 1945 to 2005 or so; the start and finish dates are a little vague, but it was intended to be the history of British and American pop music over the years that the 7” vinyl single was the dominant distribution format. Naturally, though, it is a history of pop music that doesn’t at all mention Saint Etienne; they are gracefully elided from the chapters they would naturally fit into. I wasn’t really surprised; it would seem a bit gauche to pretend to write about yourself in the same detached and journalistic style as the rest of the book. It left me thinking, though, how would Bob Stanley have written about his own band if he hadn’t been in his own band himself? It’s another of those impossible counterfactuals, one even more unlikely that most, but nevertheless I find it an interesting thought.

I personally became interested in pop music at the end of the 80s and the start of the 90s, something of a strange period that’s often considered a somewhat empty one, a period in which music was doing little more than treading water waiting for the 90s to start. Music from before that period is something I largely know about purely by the regular processes of cultural assimilation (aside from that covered in the folk-focused Electric Eden: Unearthing Britain’s Visionary Music by Rob Young). The Parents had a very curious, eclectic and limited record collection, which I naturally went through as a teenager, but it gave me a very one-sided view of things. The Mother seems to have been a sucker for the slightly-novelty single when she was younger: her 7”s included “Deck of Cards” by Wink Martindale, the original Doctor Who theme, and “Dominique” by The Singing Nun. She’s also rather liked rock or pop versions of older orchestral music; in the 60s she was buying “Grieg One” by The Second City Sound^***, and at the start of the 80s she often listened to the band Sky, with their electronic versions of classical standards.^**** Naturally, my knowledge of popular music from before “my own time” ended up being very strange, patchy, but with a deep knowledge of some curious corners. Yeah Yeah Yeah therefore was a fascinating synthesis, a map and a guide to a vast and complex landscape where previously I’d only seen the summits of the mountains peeking through the clouds.

The last portion of the book, though, I found less satisfying. Not just because Saint Etienne weren’t in it, but because in general my own musical tastes have tended towards the slightly niche and obscure, and those particular niches just don’t get swept. In particular I used to be a big fan of Belle and Sebastian. More recently I have gone back and explored some of their own influences, such as Felt, or some of the bands which recorded on the Sarah Records label. These are niches that tend to be seen as not just obscure but wilfully obscurantist, even though that is a very long way from the truth.^***** I wasn’t surprised that my own particular hobby-horses were not deeply investigated, but it felt a shame that the 90s in general seemed to be quickly skimmed over. Possibly this was because Stanley felt unable to handle the days of the CD single; I wondered more, though, if it was a general reluctance to deal with the area he felt personally involved in.

The rise of streaming services is often given as something which has fundamentally changed the popular music landscape; and it is indisputable that the music scene today has changed completely from what it was 20 years ago. Personally, though, I feel the change wasn’t driven so much by streaming, but by communication; by MySpace letting every single band in the known universe put up their shopfront and become known across the world. It immediately broadened the scope of every music fan: the trickle of information about new bands that came from the weekly music press suddenly became an unstoppable flood. I, for one, felt that in 1995 I could at least be aware of all the bands in the genres I cared about, but by 2005 that was becoming completely impossible. I can also see how, if you were to write a book about pop music, continuing it past 2005 would seem impossible too.

When I reached the end of the book and read the acknowledgements, I wasn’t surprised. Yeah Yeah Yeah was put together with the help and influence of a number of key members of the ILX forums. Personally, I haven’t used ILX for more years than I really want to think about; but when I saw many named I recognised from ILX in the back of the book, I suddenly realised why some of the book’s arguments and standpoints felt so familiar to me. Of course, given I was a fan of Stanley’s music all along, given I have always been a fan of syncretic, holistic thought and of “reconciling the seemingly disparate”, I would have agreed with much of it in any case. As books go, this one will be staying on the bookshelf.

* One piece of trivia I only discovered when fact-checking this post: the woman on the sleeve of their first album, Foxbase Alpha, is apparently also the woman who says “Can I take your order?” on “Chicken Soup”.

** Yes, it’s a real genre. You probably know the most famous “death disc” track, “Leader Of The Pack” by The Shangri-Las. Incidentally Saint Etienne’s discography is awfully complex and only partially available on streaming services; “Hate Your Drug” was a B-side to the single “Hug My Soul” and an album track on some versions, but not all, of Tiger Bay—it wasn’t on the original UK release. For reasons I have never understood, the rear sleeve of “Hug My Soul” features a black and white photo of a kitchen with random items labelled in Icelandic.

*** If you’ve never heard of The Second City Sound, it’s OK: I suspect The Mother only knew of them because she lived in said second city and they were a local band.

**** Later on still, when she no longer came across new music herself, I managed to get her into William Orbit and The Penguin Cafe Orchestra: I figured they were exactly the sort of thing that would follow on from her previous musical habits.

***** Incidentally over the years I’ve seen many people say they thought Belle and Sebastian would have been a perfect Sarah Records band, if Sarah had still been around when the band formed. I don’t think is true at all; moreover, I feel anyone who says that can only have a wild misunderstanding of Sarah’s aims and purpose. That, though, is a topic too large to fit into this footnote.

Keyword noise: books, Bob Stanley, Yeah Yeah Yeah, Saint Etienne, ILX, music, journalism, acquaintances, indie, Sarah Records, Belle & Sebastian, The Mother.

It’s nice to be topical, even if it is entirely by accident. Earlier, I complained about the rather unbalanced media coverage following the recent hit-and-run deaths of Sam Riddell and Troy Atkinson. Three or four hours after I published that post, the BBC briefly announced that the city magistrates have remanded someone to await trial for Troy’s death.

It’s good news that the hunt for his alleged killer has barely taken a couple of days longer than it took the police to find Hannah Saaf. It was probably a trickier job, too; unlike the Riddell/Saaf case, the chap in question wasn’t the registered keeper of the car. He’s not the man police arrested shortly after the incident, and he’s also been charged with taking the car without permission. It’s quite possible, to be fair, that the police kept the Atkinson/Ahmed case out of the media for investigative reasons; it was presumably thought to be in their interest to broadcast pictures of Hannah Saaf far and wide in the hope that somebody would spot her.^*

There’s still something about the relative treatment of the cases in the media, though, which leaves a slightly nasty taste in my mouth. The police might have now brought both cases to the same stage, in roughly the same time; but one of those stories has been all over the media in the past few weeks, and the other has been hardly mentioned. This isn’t any sort of class war: it’s just a comment on the type of people who have easy access to the media. If you want to get your story out there, you need to have either a good publicist or a story that fits the media’s mould.

* which they did, although she hadn’t actually got that far out of Bristol

Keyword noise: BBC, Bristol, Bristol Post, Hannah Saaf, Hartcliffe, journalism, Sam Riddell, Troy Atkinson, Westbury-on-Trym.

This is a local news story. Which is to say: local readers will have heard most of the details of it before. Or, rather, it’s two local news stories together. People further afield may well have heard of one of them.

A couple of weeks ago, close together, two young people were killed in the Bristol area, in hit-and-run road accidents.

On April 28th, a 15 year old called Troy Atkinson was hit by a black Mercedes on Penn St, in the city centre. He died the following day, of his injuries. It featured in the local news, the police released the car’s registration and asked for witnesses to come forward; and then the news went quiet.

Three days later, an 11 year old called Sam Riddell was hit by a car in a North Bristol suburb. The driver fled the scene, leaving the car behind. It featured in the local news, and the police asked for witnesses to come forward.

There, though, the story changes. Sam Riddell’s story stayed in the news. The police revealed that the car’s owner matched the description of the driver, and that she had not come forward. More details came out about Sam Riddell’s happy family life, and newspapers started to publish photos of the car’s owner, presumably as her friends^* and acquaintances realised there was cash to be made. The story slowly made its way from the local news to the national news, and came to a head when the alleged car-owner and driver was found, apparently hiding in a shed in Pensford. She was promptly charged, and is currently on remand awaiting trial.

I don’t know how far the police are getting in their investigation of Troy Atkinson’s death, because the press has been rather quiet about it. The police got as far as arresting someone, but whether he was charged or not I can’t seem to find out. And, apart from the manhunt aspect of the Sam Riddell case, there’s one rather obvious difference to the two cases. Sam Riddell was from Westbury-on-Trym; Troy Atkinson was from Hartcliffe.

Sam Riddell was brought up in a nice, middle-class suburb by nice, middle-class parents, who have made very sure that the story has stayed in the news. We’ve been given stories about what a nice boy he was, how he had lots of friends, played football, went to church regularly and had a happy life because of his firm faith in Jesus. I have no idea what Troy Atkinson’s upbringing was like, but, well, it was in Hartcliffe. Hartcliffe, if you’re not local, is a large 1950s estate, one of the most deprived areas in the south of England.^** It’s a fair bet that Troy Atkinson didn’t go to church very often. It’s also a fair bet that his family isn’t very well off, because his friends organised a memorial march to help pay for his funeral. The Bristol Evening Post‘s response to the march was to print accusations that the mourners had carried out shoplifting attacks en route.

Maybe the news stories about Sam Riddell will disappear too now that the alleged car-driver is imprisoned. I suspect, though, that they will pop back up again as her trial date approaches, and then again in a few years when she’s released. If the driver who killed Troy Atkinson gets imprisoned, will it even rate a mention? This story, as much as any, shows how much your background matters. If you come from the right background, if you have an idea how to work the media and write a good press-release, you can keep your story in the news for almost as long as you like. If you don’t come from the right background, your story will sink without a trace.

* Or, former friends, I assume, given that they’ve now sold photos of her to the press.

** I can’t be bothered to check the statistics because that would involve getting up and going through to the living room; but I do recall that statistically Hartcliffe isn’t quite as bad as neighbouring Knowle West, which comes out as one of the worst places in England on several measures of social deprivation.

Keyword noise: Bristol, Bristol Post, Hannah Saaf, Hartcliffe, journalism, Sam Riddell, Troy Atkinson, Westbury-on-Trym.

Long-term readers might remember that, back in the mists of time, I upset some busy bees at the Grimsby Telegraph after describing that newspaper as “rather news-thin”. Which, indeed, it is: they don’t have much news in it, because they don’t have the reporters or the money to research much news. I kept meaning to take a random copy, take it apart, and break down its content into “quality” and “filler” – the latter being things like the letters pages, readers’ photos, TV listings, local sports reports^* and so on; but, not living anywhere that I can get hold of a copy easily, it has been put on the back burner.

I was gratified to see, though, that its stablemate the Bristol Evening Post may have similar issues. Certainly, job cuts at both the Grimsby Telegraph and the Evening Post were making the news recently; and I’ve since noticed that the Evening Post no longer seems to pay as much attention to the accuracy of what it prints.

On Monday afternoon, a story appeared on their website, concerning a street fight in Bedminster the night before; your average local news story really. Five people were injured, and police closed the street^** to search for evidence. As the Evening Post said:

The street has now reopened

Which it has. Unfortunately for the Evening Post, that story is dated 15:35, Monday. In the real world, at 5pm, everything was still cordoned off, as CSI Bedminster’s finest were still going about their jobs: white suits, facemasks and all. Oops.

Earlier in the day the police had said that they’d probably have tidied everything up by lunch-time. Clearly the Post staffer responsible for that story had heard as much, assumed that “probably” meant “definitely”, and didn’t have chance to check their facts before going to press. Which is understandable, given that it’s a small point, and the Evening Post has to get a paper out every afternoon however few reporters it has left. It makes me wonder though; if they don’t check small details like this, what else gets printed unchecked?

“It’s just like you reviewing things you haven’t seen or read,” said K, when we talked about it later.

“You’ve got a point,” I admitted.

“You should be writing reviews for them, then!” she said. Now there’s an idea. At least I’m honest about it.

* Most of which, especially if they appear without a byline, are essentially press-releases from the teams involved.

** Here’s a factoid for trivia fans: the street in question is part of the longest road entirely in England.

Keyword noise: accuracy, Bedminster, Bristol, Bristol Post, Grimsby Telegraph, journalism, news, newspapers.

The rather news-thin Grimsby Telegraph newspaper has decided to jump on a fish-marketing bandwagon and declare today to be Great Grimsby Day. A day to be proud of the Grimsby area! Its scenic mudflats! Its thriving heroin-injecting scene! The active support for boxing and extreme wrestling seen in the town centre every Saturday night! The wide range of chain-based shopping opportunities, and the picturesquely decaying industrial areas. Be proud, people!

It’s a good thing, I suppose, that they didn’t get it confused with National Fetish Day, which – equally arbitrarily – was yesterday. I hate to think what would have happened. There’s not much of a fetish scene in Grimsby, after all; a couple of the regulars in the Lloyds Arms and that’s about it. I can quite easily imagine the Grimsby Telegraph’s staffers not understanding what the word means.

Keyword noise: fetish, fish, Grimsby, Grimsby Telegraph, journalism, Lincolnshire, North East Lincolnshire, marketing, National Fetish Day, newspapers, pride.

More things, around the interwebs, that people have been looking for…

the deirdres are a rather good band from Derby – see here.
photo enlargement 99p – it does sound like a bit of a bargain rate. Unless, of course, you want to enlarge a photo of 99p, which is possible too.
unexplained black moods aren’t very nice, but if they’re that unexplained I’m not sure there’s very much you can do.
emo kids handcuffs – I have a lovely picture in my head, now, of emo kids handcuffed to street furniture in all their hang-outs – outside the art gallery in Exchange Square in Glasgow; outside the Corn Exchange^* in Leeds, and so on. I wholeheartedly endorse this idea. Come on, people, together we can make it a reality.
triangle sidings are the London Underground sidings in South Kensington, in the basement of the Cromwell Road Sainsburys, where the air terminal used to be. More information, and photos, here.
chocolate coins left at doorstep – I don’t remember ever mentioning this, or anything of the sort. But if anyone does want to leave some chocolate coins on my doorstep, then, please, feel free to!
cara page journalist. Cara Page was, the last I heard, writing for the Daily Record. She’s infamous – at least in certain circles – for writing “exposés” about the sex lives of fairly boring and ordinary people, such as a charity shop worker from Peebles. None of it is “newsworthy” in any conventional sense of the word, but tabloid editors still strongly believe that a bit of Carry On-style tame dirtiness sells papers. Sadly, that’s all I know about her. And that, I think, is probably enough search requests for now.

* Now there’s a name that’s always puzzled me a little. “Hello, my dear sir, I’d like to swap this corn, if you may. For … erm … some different corn?”

Keyword noise: Cara Page, emo, journalism, London Underground, searching, The Deirdres, Triangle Sidings.

Lounging around on a sunny Sunday morning, I was planning, plotting, and thinking of things to write here. Planning on writing about the cake K was promising to bake, or W’s upcoming birthday, or yesterday’s trip to Oxford with C and P and various other people. And I started thinking: why do I refer to people by letter like that?

I quickly realised where I might have got it from: the scientist and writer Jeremy Bernstein. I have, somewhere on my shelves, a copy of his book Experiencing Science, a compilation of articles he wrote for the New Yorker. It is mostly a series of pocket biographies of prominent scientists, from Kepler through to Oppenheimer via Lysenko, Franklin, and others; but at the end of the book is a slightly strange, partly fictional essay on the work of Turing and Gödel. In which all the main characters – the fictional ones, at any rate – are referred to by their initial letters. K, W, and so on.

I can’t say I fully understand Gödel’s theorems. My maths isn’t that good. I do love its implications, though. It underwrites and undermines the whole of computer theory; and, as someone who works in IT, I know from experience that computer theory hardly ever matters in real life. Someone once asked me, politely, to shut up, on a train, because I was trying to explain Gödel’s theory rather loudly to Δ and I hadn’t realised we were in the Quiet Coach. I try to reread Bernstein’s book every year or two, and not just for the Gödel chapter; clearly, though, it’s been a bigger influence on my own writing than I’d realised before.

Keyword noise: biography, books, Experiencing Science, Gödel's Theorem, influences, Jeremy Bernstein, journalism, Kurt Gödel, maths, pen portrait, pocket biography.

Going back on last week’s post on Jakob Nielsen‘s top ten blog design mistakes: his Number Two Mistake is: no author photo on the site. Thinking about it, out of all the mistakes on his list, that’s almost certainly the most commonly-made.

Faces are better-remembered than names, he says. People will come up to you because they recognise you from your photo, he says. How many bloggers actually want that to happen to them, though? I know I don’t. It makes you personable; it improves your credibility if people know who you are.

I said before that I don’t believe it would give me any extra credibility. I don’t think you need to know what I look like in order to believe the stuff I write here; and frankly, I don’t care whether you believe it or not; I know myself how true it all is. Thinking about it again, though, I’m a bit suspicious of his reasoning; and what makes me suspicious is: comparing his theories to the way newspapers work.

If you look at most national newspapers – I mean, British ones – their regular columnists will have byline photos. You know what they look like, so, the theory goes, you should trust them more. Columnists, though, aren’t there to write things you need to trust them about. They’re there to write down their opinions, which may well be – and often are – complete bollocks. The news pages, which are the parts you’re supposed to believe are true, don’t bother with byline photos. They don’t always bother with bylines. These people, though, are the ones you’re supposed to trust, and their words are supposedly more trustworthy because of their relative anonymity.

Of course, this all breaks down when you consider that most bloggers see their role in life as over-opinionated commentators, not the byline-free just-the-facts news types. I wanted to mention it, though, because it’s a different angle on how trust works in the media. Who do you trust more?

Keyword noise: blogging, byline, credibility, design, Jakob Nielsen, journalism, media, newspapers, trust, usability, web design.