Random Words of Today
*****
and while we’re at it, this is another little random podcast from the other day
it’s called RE: Tories Left Right etc.
*****
and yet another recoded just an hour or so ago
this one is Art Light Love Universe
*****
just another rambling podcast partly about the book launch of Busted the other day
I don’t really know how it got to this but in eleven days time on April 3rd I am doing a sort of gig. Poster below.
It’s a very small venue but an interesting one.
here’s the event link on Facebook: https://www.facebook.com/events/317730898881281/
Some of my paintings will be on display and for sale in the week leading up to the event.
Here they are:
Mozaic-B – Acrylic on canvas. 16″ x 12″ Framed and ready to hang £160
Mozaic-A – Acrylic on canvas. 16″ x 12″ Framed and ready to hang £160
Oranges and Lemons – Acrylic on canvas. 16″ x 12″ Framed and ready to hang £150
Earth and Sky – Acrylic on canvas. 16″ x 12″ Framed and ready to hang £120
Also on show but not for sale (high offers may be considered)
Cefncaeau View – Oils on canvas. 30″ x 24″
Old Heads Podcast February 2019
Transcript below
Music is like the wind – it’s just there.
Remember that I’m not saying that making music is easy, far from it – making music is very difficult – I know that there are tens of thousands of very talented musicians in the UK and at least thousands in Wales – and I know a few of them so I know how hard they work to make those sounds.
But I am saying that making music is a cop-out – compared to writing it’s a doddle. I mean once you’ve learned an instrument and the tunes to a bunch of songs all you have to do is play and sing. Unless you’re a composer of course, but even then it’s still easier than writing. It’s still following a bunch of rules and usually that means repetitions of things like beats and lyrics.
I know a point of view like this might upset a lot of people, especially those who have spent decades learning their craft and those who profess their love for certain musical artists or genres, but it doesn’t matter, because my opinion of music doesn’t matter. I’m just an ordinary bloke, that’s all – one ordinary bloke out of tens of millions of blokes in the UK alone.
Besides, I’ve got no influence, no respect, no kudos, so just chill the fuck out – I’m only writing about how I feel – and even then I’ll probably change my mind next week or have an epiphany or something. Yeah, so just chill the fuck out. And there’s no reason or need to dislike me either, just for my opinion. I am not disrespecting you, in fact, I admire you a lot, it’s just that I don’t think music is such a big deal.
Recently I told someone whose life is music that I regarded music as just like the wind – it’s just there that’s all. They and others they spoke to in the music business were horrified. I’m a little puzzled by that reaction to be honest because I think it’s a complimentary thing to say – I mean, the wind is one of the most amazing, wonderful, varied, profound, powerful and beautiful things there is. It is an actual force of nature.
Writing on the other hand is like taking the whole of history, the whole of human evolution and experience, the whole of the universe even, in your brain all at once and issuing words that encapsulate the magic and the majesty in a conscious way. It’s not like just standing on a beach and feeling the wind in your face and the sea air in your lungs, it is the very act of creation itself. Writing is divine in the true sense, not in the namby-pamby repetitive sense.
But yes I still admire and envy you – I wish I could sing and play an instrument like a guitar or a key board.
Maybe I’ll try to learn. Is it too late for me to do this at 67 years old do you think?
Me and a mate chatting – some people think it’s a bit funny – it’s a lot more than that . . . . .
Click the pic to hear the Old Heads podcasts on the Tafftown website
Extract from Work in Progress novel – The Flying Boy
Audio here:
Transcript below:
You. You.You. It’s all about you isn’t it? Yes of course, you think. Who else is it going to be about? There is only you, in your life anyway. Is that sociopathic? Or some kind of pathic? You only know about yourself. You can’t know about anyone else – only what you are allowed to know by whatever this universe is. Ah – there it is, it’s about a u-niverse, so, yes, it is all about you.
But you still have to breathe air, share, and even you admit you don’t know everything. In fact you know hardly anything, possibly nothing. For example you tell people you are writing meta fiction but you don’t even know what meta fiction is until you look it up in the great big dictionary in the sky, just to check that you aren’t talking crap and could be called out by a first year literature student. But you are talking crap aren’t you? You are talking crap because for one thing the great dictionary told you that what you think is meta fiction probably isn’t – for one thing it seems to be spelled metafiction as one word, and the rest of it, well, there’s too many subtleties in the definitions of the word and not many come close to the sort of thing you’re writing. So yeah, you are writing something that is probably not metafiction, but you’re not sure – maybe it’s meta fiction or even meta-fiction.
So what. You’re not writing according to some spurious literary rule. You are writing the truth. You don’t know who Jill is. This is important. Because Jill is . . . Jill is what? Hmm. You can’t deal with all this now. You have bigger fish to fry, or maybe you would if you fried fish. But you don’t fry fish; you don’t do anything with or to fish except look at them now and again in a friend’s pond or dead on the slabs of a fishmonger in the market.
There was that time, maybe thirty years ago, when you were involved with fish more than you wanted to be, more than you should have been. It was an actual fishing competition organised by your brother. He was a fisherman. Not a professional fisherman. He didn’t sell them or anything, though he no doubt traded the odd fish for some other advantage because that’s the sort of person he was, but he had a boat and loads of tackle, and he organised a sea fishing competition. You helped him by creating and managing a little computer database to record the details of the fish the competitors brought back to the weigh-in.
Stop! Pardon. Pause at least. OK.
When you’re writing like this it’s like applying the first daubs/splodges/lines of paint of an abstract painting on a canvas. You step back to look and at first it’s just random marks, random colours, random shapes and textures. Then you catch a hint of form. It starts to mean something and you start to realise that that meaning was there all along, it possessed your hands, your eyes, your brain. It used you to express itself. This is a divine thing – its form and its meaning will reveal themselves.
Restart.
(Martin Amis is your inspiration. Is he? Yes. Every time you read something about him or by him or see his name on a book cover you find yourself writing seconds later. Is that true? You’re doing it now. Ah! OK.)
Now really restart, resume maybe.
So helping your brother out at the fishing competition means sitting in a damp portakabin behind a makeshift desk, typing bits of information into a computer database. Things like contestant name and number, boat name, time of weigh, species of fish weighed, weight of fish.
Each species of fish has a specimen weight attached to it. So, a sardine say, has a specimen weight of a few grams, while a great white shark has a specimen weight of almost two tonnes or whatever. Not that you weigh any sardines or great white sharks, though there is a shark the size of a spaniel dog and some kind of flatfish with the circumference of a saucer.
At the end of the day there is a winner, the person whose fish is bigger than its species’ specimen weight by the largest factor. The spaniel-sized shark doesn’t win but the saucer sized flatfish might do. You can’t remember. You don’t want to remember.
All that must have been around the same time , late 80s, early 90s, that you read the book London Fields by Martin Amis, coincidentally, you’ve just read an interview with him in the Guardian (online) about the film that has just been released based on that book – London Fields (the film is rubbish apparently). Maybe that’s the reason you’re thinking about your brother’s fishing competition, some feint connection from three decades ago.
So yeah, maybe you have to admit that Martin Amis is your inspiration, your muse perhaps? I wonder what he would think about that? Being a muse for an also-ran novelist. You know what he is. He’s not a muse, he’s the sort of arrogant male artist who employs muses, uses them at least. He’s as much a muse as a jockey is a horse or a fish is bait.
But there you are, there he is, each in your respective universes, and there you will remain. Though Mr Amis does remind you of a dope-smoking friend you had for a while as a dope-smoking teenager. That friend was called Martin as well. He was not a tall person and used to walk around in a thick woollen coat that was too big for him.
Your Martin used to knock around with Jill. Hold on. You’d better stop there to think about it. Jill? Even that far back? Half a century? Is that possible? Are your memories real?
The thing about Jill is . . . .
What is the thing about Jill?
Here’s an audio recording of this piece – text below:
Yesterday, after a breakfast of tea and toast with tahini and yeast extract we went to the Farmers’ Market to buy organic vegetables. We’ve been going to the market for years and once ran a stall there selling our own handmade soap and body products, so we know a lot of the regulars and stallholders.
I know that last paragraph makes me sound like an over-privileged hippie but I’m not, we actually spend a lot less on food and suchlike than most people do and cook everything from scratch in our pokey little kitchen. We just like to eat healthily.
I got chatting to a friend next to the fair-trade beverage and snacks stall, and, as it does when you engage in a bit of small talk at the Farmers’ Market on a Sunday, the subject got around to the nature of reality, involving life, death, and the hallucinogenic drug DMT.
The theme of the conversation was that we, i.e. human beings, or possibly all beings, project our own realities. We are all from the same source and each of us is an expression of that source but essentially we are one.
While we were pondering the imponderables, my wife carried on walking alongside the stalls. When I caught up with her she was talking to one of the other stallholders. He was nattering about aliens and about how there is incontrovertible evidence that they walk amongst us. He described a species of very short (compared to humans) hairless aliens. He also said that there are many proven examples of UFOs visiting our planet but that it’s all been covered up.
When I got home I did a bit of googling about DMT and discovered that those who take the drug sometimes ‘see’ small alien-like creatures, similar to the ones described by the UFO man. On my Twitter feed was a quote from the work of the Irish poet Medbh McGuckian: “There is only One universe at a time”
So, that’s the point – yes, life is so random there’s no way of working out what it’s all about. Maybe aliens do zip around our skies; maybe the universe is a personal projection, and this is only one of an infinite number of possible universes. Certainly, in the context of all time and all space then whatever our world is it’s less than microscopic.
But, you can only deal with what’s in front of you now – one universe at a time, no matter how insignificant it seems. If you need to have a purpose then your job is to contribute to the coherence of it all, because without your contribution then none of it would matter, or even happen.
Because you are it.
Love yourself. Go on.
If you believe the hype, the Welsh are rugby-obsessed lamb-eating choristers. As with most lazy stereotyping this is completely wrong of course. I’m as Welsh as they come and I don’t like rugby, lamb or male voice choirs. It’s not just me though, but most Welshies are too afraid to admit it. For example, a friend persuaded me to go to a rugby international in the Millennium Stadium a few years ago, to see a match involving our Celtic cousins Ireland. Because of a ticketing mix-up I ended up sitting next to strangers in the upper hinterlands of the stadium. Continue reading
An audio recording made 3 years ago of a poem I wrote 15 years ago, there’s a transcript below the picture that was taken 1 year ago. The picture is of a man-made meadow near Llandaff Fields in Pontcanna and it’s just there because people apparently like pictures to illustrate mere words.
I wrote the poem in the canteen/refectory at Trinity College, Carmarthen after arriving early for a session of the MA Creative Writing course I was studying at the time.
I had driven through the wonderful Carmarthenshire countryside with its green green grass and rolling hills and become pissed off at how the beautiful and mystical nature of Wales and its inhabitants have come to be defined by stereotypes involving sheep farming, rugby, chapel and industrial abuse.
Where is Your Song?
What is there to sing about
in the dirty valleys of Wales?
The land of my fathers’ follies,
the land of Mam’s poison cake.
Where sheep flood the green hills
like maggots, munching
to certain slaughter,
and pass their moronic character
to the people, through their plates.
The rivers run cold and collect
the toxic discharge that the Lords left.
The stone-walled slate-roofed mausoleums
of mediocrity, house the bigots
and the hypocrites of fear.
Why allow these demons
to inhabit our beautiful land?
Where is the sleeping Prince
who promised to return?
Wales is not a place of blood and tears.
Wales is not a deposit of dirty rain.
The evil of our history has skewered
our hearts to a red jersey,
the only paltry pride we have left.
Oh Wales, where is your song of joy?
Well – not really, life is a wondrous inexplicable miracle, but this is an audio recording of a song I wrote with Marc Roberts about 5 years ago for The Flight of the Wren, the Rock Opera that never rocked – performed by Marc
