Monthly Archives: October 2017

An extract from an unpublished novel…

That night, she went to bed very early – 8.00pm – and couldn’t get to sleep until about midnight and then the nightmares started.

In her mind, she saw the quiet living room she knew so well on a quiet Sunday afternoon in a white-painted house sitting alone among trees. His idyllic home; their future idyllic home together. She had been away at a meeting in Manchester.

At a desk in the room, by French windows leading out to the large garden, the man in his thirties sat writing. Or maybe he was reading. Yes, he was reading. He liked reading at the desk, not in a comfortable sofa, because he said it did his back in. He slouched if he sat too long on sofas. So he would have been sitting at the desk, reading. Sitting in the wicker chair he felt most comfortable in. He would not have heard the man stalk up behind him on the thick white carpet. She saw the man dressed from head-to-toe in black, wearing a balaclava. Like he was storming the Iranian Embassy or delivering Black Magic chocolate to his beloved in a Cadbury’s chocolate ad on TV. The police had told her the framed photograph of her had been on the floor next to him when they found his dead body; it would have been one of the last things he saw, they said.

She hoped so, anyway. She hoped he hadn’t heard the man stalk up behind him, hadn’t turned round and known what was going to happen, hadn’t felt the fear rise within him. No, he hadn’t known until the last moment. Her picture was sitting on the desk. It would have been sudden. A black-gloved hand pulling his head back. Another black-gloved hand bringing the knife suddenly round in front of the throat, slicing from one side to the other while the blade pushed in as it cut. The sudden inability to breathe. The loss of consciousness. No, he wouldn’t have known what was happening. Then she realised he would have felt his own warm blood spurt up from his cut throat onto the underside of his chin and we would have been unable to breathe; it would have been like suffocating and she woke up screaming and drenched in sweat.

If you cut someone’s throat, it takes about ten or twelve seconds for them to die; it’s faster if you stab them through the groin – then it takes about four seconds – but that’s seldom an option. Anything over four seconds is a long time to know you’re dying. And twelve seconds is a long time to know it. You obviously can’t talk after your throat has been cut, but you hear your own gurgling and gasping and gargling sounds. You realise what’s happened; you know that, in a few brief seconds, you’re going to be dead. All your plans were pointless.

I saw a man’s throat cut in 1979 and I timed it. He ran to the bathroom, squirting blood everywhere, and managed to get a towel round his neck and then died. Took a little while. Twelve and a half seconds. I timed it when I played the footage back. Watch and learn was always my motto.

In the border town of Dundalk in the Republic of Ireland in the 1970s, in embroidery and sewing classes, little schoolgirls used to knit black woollen balaclavas; they were never told why, but it helped them learn domestic skills which were useful to them later in life.

I was brought up in a local Conservative Party Club in North West London because my parents ran the bar. My father used to tell everybody that he was a trooper in the Life Guards but that all he ever did during the Second World War was to hand out bullets and blankets. That was his War. Bullets and blankets. Nothing special. Sometimes, when he was pissed, which was most of the time, he’d get my air rifle and start drilling with it – strutting up and down in the Conservative Club bar and ‘presenting arms’ and all that. He’d put it up on his shoulder… “Who goes there?… Whose keys?… The Queen’s keys… Pass friend!”… all that bollocks. He didn’t do it to amuse me; he’d do it in the bar at the Conservative Club for the members and they’d all laugh because they were all ex-warriors and loved it. I reckoned my dad was an idiot. He hadn’t fought; he had done fuck all during the War and here he was strutting up and down pretending to be a real soldier.

Because he worked in the trade, running the bar, in those days the licensing laws said he had to close the bar at three in the afternoon and he’d have a proper sleep in the afternoons; then, later, get up and have a wash, then go down and serve drinks all evening. My mum used to tell me late in the afternoon:

“Go wake your dad”

and I used to be mortified. She wasn’t stupid; she sent me for a reason. You could shout at him – really shout – when he was asleep and he wouldn’t hear you. So you had to keep shouting louder and louder and then maybe shake his shoulder gently. But, if you touched him even a little – fuck me – did he wake up! And he woke up violent. He’d automatically swing his fist at you. Then he’d be angry that you’d made him upset and he’d taken a swing at you and he’d storm around for an hour or so. He had a terrible temper. Why I thought he’d never hurt anyone in his life I don’t know, because he’d hurt me. Physically.  A very, very dangerous man. He’d knock my mum about and then bang me and he had a hard job dealing with his own violence. Swung from aggression to remorse to aggression.

He drank 50 bottles – 25 pints – of Whitbread light ale every day. Easy. My mum counted sometimes, just to check. It was only a pale ale; not strong stuff. But he’d start at 8 o’clock in the morning when he was ‘bottling up’. Then he’d have a couple just before breakfast. He was an alcoholic, but wasn’t really visibly pissed after his 25 pints. He could function perfectly well after drinking 50 bottles but, then, he only had to stand behind the bar and serve drinks. On the other hand, if you gave him just one small Scotch after all that, then he became a lot more than a bit of a handful.

When he died, his name was put in the Life Guard magazine and one of his old mates contacted them, got my phone number, rang me up and told me what a wonderful father I’d had.

I told him, “Yeah, he would’ve been a wonderful father if he hadn’t been drunk all the time!”

And he said, “Your father never drank when I knew him.”

This bloke was putting together a scrapbook of people he had known to give to the Life Guard Association after he died, so he wanted photos of my dad. And this guy told me he had been on five ‘X’ missions behind German lines in Occupied Europe with my father, ‘doing little tasks’ – blowing something up, assassinating someone, things like that. He was, obviously, a rather military man, this friend of my father’s and he told me:

“I can tell you for sure that, with my own eyes, I have seen your father ‘cut’ eleven men. He used to kill the sentries.”

He told me my father had only got upset once.

“There was this young German looking at his pay book,” he told me, “when your dad came up behind him and slit his throat. The German dropped his paybook and it fell to the ground and your dad picked it up and inside the paybook was a picture of the German’s wife and three children which he’d been looking at when his throat was slit. And your dad handed the bloke his paybook back as he lay there dying – propped it up and, in his last split second, the last thing the young German would have seen was the picture of his wife and three children. Your dad just stood there looking down at the dead German and eventually I had to tell him, “Come on, we gotta get on!” and your dad had tears in his eyes but wiped them away… and, two minutes later, he killed another sentry. Cut his throat… He did what he had to do.”

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How ‘Brown Bread Fred’ Foreman stopped Ronnie Kray from killing

Micky (left) met Fred in August (Photograph by Steve Wraith)

At the beginning of August this year, Micky Fawcett, a former associate of the Kray Twins, Ronnie & Reggie, re-met Fred Foreman at the Radisson Hotel in London’s Tottenham Court Road.

I blogged about it.

They had not met since the 1960s.

When I met Micky more recently, I asked him about ‘Brown Bread’ Fred.

“I used to see him quite a bit,” he told me. “I had some quite interesting times with him – he had that pub in the Borough, just as you come over London Bridge. I used to go and see him and go upstairs and have a glass of vintage port with him.”

Brown Bread is Cockney rhyming slang for Dead,” I said. “He had a reputation.”

“He saved a man’s life once,” said Micky. “No-one really believed him. But I was a witness to the fact he did.

“The Twins were trying to get a spieler (an illegal gambling club) going underneath the Regency (a club they owned). A few of us were down there and Ronnie walked out of the toilet, pulled out a revolver, put it at a feller’s head and the gun jammed.

“Everyone was diving under the tables. Fred, Reggie and myself leapt forward and Fred ended up wrestling with Ronnie to try and get the gun out of his hand and eventually he did.

“What had happened was this feller called George Dixon had had a spot of bother with the Nash family and he was a bit concerned. So he had said to Ronnie: I’m having a bit of trouble with the Nashes; I wonder if you could help me?

“And Ronnie said: Yeah, OK, but keep out of the way until I give you the all clear,

“Then this feller Dixon saw Charlie Kray and said: I had a bit of trouble with the Nashes and Ronnie said he would help me. Could you find out what’s happening?

“So Charlie said: Yeah, OK. Come down the Regency on Monday.

“So Dixon had disobeyed Ronnie, but it was a little bit deeper than that. Because I think something had happened sexually between Ronnie and Georgie Dixon.

“When it happened, Ronnie started shouting out: Just cos you know me in one, don’t mean to say I’m… and you’re using me to… – and you wouldn’t have known what he was talking about if you didn’t also have an evil mind and suspect the worst.

“Since then, it’s gone into folklore but no-one believes Freddie Foreman saved a feller’s life. And he did. I was there.

“He’s got a documentary coming out next year. I think it will be good.”

(Left-right) Micky Fawcett, Michael Fawcett, Brian Anderson, Steve Wraith and Fred Foreman.

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“Parrotopia” – one step beyond British Music Hall, The Goons and The Bonzos

Michael Livesley (left) and Rodney Slater, Lords of Parrotopia

“Why should I talk to you?” I asked Rodney Slater, formerly of the Bonzo Dog Do0-Dah Band and Michael Livesley who, in the last few years, has revived Vivian Stanshall’s 1978 epic Sir Henry at Rawlinson End.

“Because,” said Michael, “of our wonderful new collaborative CD effort Parrotopia.”

“You  sound like,” I told him, “a Northerner trying to be posh by using long words – collaborative, indeed!”

“But it IS collaborative!” he insisted. “The crazy thing about this CD is that, without any kind of planning, it has 12 tracks, six of which are mine and six of which are his. We then cross-pollinated it, of course.”

“You’re using big words again,” I told him. “So the music is random?”

“Yes, it’s very random,” Michael said. “I suppose, if it has a genre, it might be front step.”

“That is a pun beyond my ken,” I told him.

“The young folks,” Michael told me, “have something called ‘dubstep’. Or maybe they don’t. Maybe that was ten years ago or more.”

“A couple of days ago,” said Rodney, “I got a magazine from PRS and I didn’t know what they were talking about in it.”

The Bonzos’ 50th Anniversary show at KOKO in Camden, 2015

“It’s been a helluva lot of fun,” said Michael. “A gestatory nine months.”

“You’re at it again with the words,” I said. “But why another CD? Artistic inspiration or the lure of more filthy lucre?”

Michael laughed.

Rodney laughed: “Gross money is pouring out of our pockets! Why did we do this?”

“Because,” Michael told him, “we couldn’t not. Let’s be honest, we’re never going to become rich doing this. As it is, we’re selling teeshirts as well as the CDs to get money back. We do the music and the songs because we have to do it. Essentially what happened was we started talking during the Bonzo’s Austerity Tour last year, as things got increasingly more fraught…”

“In what way ‘fraught’?” I asked.

“It was nice amongst us,” said Michael. “Lovely among the players… Let’s not talk about it.”

“So the new CD… Parrotopia.” I said.

“The initial spurt,” explained Michael, “was that Rodney bought an iPhone and, all-of-a-sudden, you could email him. And there was no holding him after that. Pretty soon, we were sending each other stupid things about long-dead Northern comics and long-dead, obese footballers. Just tittle-tattle in general.”

Susie Honeyman of The Mekons, Rodney Slater and Michael Livesley during Parrotopia shed recordings.

“It’s just a collection of stories, really,” said Rodney. “Stories we wanted to tell that happened between 2016 and when we finished it in June this year. Our reaction to what was happening in the world and what was particularly happening to us in that context.”

“Not,” I checked, “what was happening politically in the grand scheme of things, but…”

“There was a sprinkling of that,” said Michael.

“You can’t get away from that,” added Rodney, “because that’s the time we were doing it.”

“Well, Parrotopia was almost like a coping mechanism, wasn’t it?” Michael suggested.

“It’s all about stories,” said Rodney. “Stories we tell ourselves. All of us. Fantasies we enact in our own heads when we go to bed at night. Michael said to me: We’ll make the album that we want to listen to. And that’s what has come out.”

“Why is it called Parrotopia?” I asked.

Mr Slater’s Parrot,” said Rodney.

It is a 1969 song by the Bonzo Dog Doo-Dah Band.

“What we said we were originally gonna do,” Michael explained, “was to declare ourselves The People’s Republic of Parrotopia, because there was stuff going on – and that name stuck.”

“Cultural Revolutionary,” Rodney said, apparently thinking out loud.

“There is,” Michael continued, “a song, one line of which is: Reflecting feudalist tags. That’s the general disjecta membra that is left over.”

“Oooh!” I said.

“Did you make that up?” asked Rodney.

“No,” Michael told him. “It’s a real word. In many ways, we were sort of living this madness through a shared past. A strange shared past, because Rodney is older than I am, but I was brought up by my nan – my grandmother – and she was brought up around the same time as Rodney’s parents. So we maybe both have a similar outlook. We see what we’ve done as very much as a continuation of British music hall and The Goons and The Bonzos.”

“Are you going to do a musical tour of Parrotopia?” I asked.

“Costs money,” said Rodney. “It would need a cast of 10 or 12. We would need some man with a lot of money who was honest, which is a very rare thing in this business.”

“Any videos?” I asked.

William ‘Fatty’ Foulke, Sheffield United goalkeeper 1894-1905

“Well,” said Michael, “we talked to John HalseyThe Rutles’ Barry Wom – who plays drums on our CD – and we discussed making some films – particularly a little silent movie of a track called Fatty – who was a goalkeeper for Sheffield United in 1902. Rodney as the referee with a twirling moustache and a top hat.”

“I think,” I told him, “you should write a song called Rodney Bought An iPhone.”

Rodney responded: “Writing used to be a slow and laborious process by hand. Now, if we have an idea, rather than me learning it, I hum something, he plays it on the keyboard and there’s the dots.”

“It’s a very quick way of working,” said Michael. “I can come up with a melody, I play it on the keyboard into the iMac computer and literally just press a button and the music dots are there for him to play. The computer is the real paradox here. Well ‘irony’ is better. Rodney has this disdain for computers and…”

“I don’t want a computer,” Rodney emphasised.

“But you have an iPhone,” I said. “That’s a computer.”

“I know it is,” he replied, “but it’s not a two-way mirror quite as much.”

“Would you care to expatiate on that?” asked Michael.

“It’s too intrusive in one’s life,” said Rodney. “It’s like walking around naked. It’s just my way of thinking about it. It’s like radio. Originally, radio was a wonderful, educational tool. All manner of communication. It’s when the arseholes get hold of it and then the big money comes in. I have utter contempt for the people running these things. Utter contempt because of what they’re doing with it. I’m not very good technically. I manage an iPhone; well, part of it.”

“One of the tracks on the CD,” said Michael, “is One Step Behind where Rodney sings about Who harvests your data? He was telling me about opinions being shaped and formed by…”

“Algorithms,” said Rodney. “I’m very interested in all that. The way it shapes human behaviour. I don’t like the sort of society that these things are making. The parallel worlds that we all live in. I prefer to go down the pub and play darts and crib and have a fight.”

“What attitudes are being formed that are bad?” I asked.

“Isolation,” he replied. “Parallel lives. Self-centred interest. What really pisses me off is that people are totally inconsiderate of the consequences of their actions on other people. They don’t think about that.”

Michael says Rodney’s Parrotopia album is “riddled with it”

“Are you going to do a second Parrotopia album about it?” I asked.

“We are doing another one,” said Michael.

“Parrot-toopia,” said Rodney.

“And when is that out?”

“Maybe next year,” replied Michael, but this one is riddled with it. Virtual reality. Augmented reality.”

“I just think, as I get older,” said Rodney, “it is time to write things down. I’m not a grumpy old man. I don’t write grumpy old man songs. I write reality, looking from now to what I’ve known, which is 76 bloody years. It’s a bloody long time. I was born at the beginning of the Second World War and I saw all that social evolution…”

“You retain a lot of optimism,” said Michael.

“A lot of optimism,” said Rodney, “from a bad beginning.”

“There is a lot of attitude on the CD,” said Michael.

“You have had a haircut since we met last,” I observed to Michael.

“Yes,” he said. “I went to Chris the barber near where I live. It is in the back of a garage. You go through his car sales bit and there’s a shed and you sit there surrounded by Classic Car Weeklys.”

“Where do you live?” I asked.

“Between Andover and Southampton.”

“I think there is a stuffed cat museum in Andover,” I said. “In tableaux.”

“I don’t think so,” said Michael.

“Maybe it’s in Arundel,” I said.

“There’s a pencil museum up in Keswick in the Lake District,” suggested Michael helpfully.

“And a vegetarian shoe shop in Brighton,” I said.

“I know,” said Michael. “I popped in once.”

I looked at him.

“I was starving,” he added.

Parrotopia was successfully financed by crowdfunding, using this video…

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The art of political war compared to a comedy club and Disney studio politics

I usually keep away from overt politics in this blog so, no doubt, I will regret posting this one…

Jonathan Pie’s initial comic success came courtesy of RT

A comedian I know was recently asked about the possibility of appearing in the UK-produced comedy series which Russian TV station RT  is apparently planning to screen next year. He said he would not appear on RT, which is financed by the Russian government. I think he was wrong. All publicity is good publicity and, if he is allowed control over his own material, I see no real problem.

But why RT, the former Russia Today – a current affairs channel akin to the BBC News channel – should be thinking of screening a comedy show is interesting.

I was also told that RT is especially interested in screening Right Wing satirists who find it tough to get on UK TV.

Why would RT be interested in Right Wing not Left Wing comedians?

Well, presumably for the same reason that, allegedly, the Russian state set up hundreds of Facebook accounts promoting Right Wing rallies supporting Donald Trump during the US Presidential elections.

The Daily Beast’s view of who was behind Right Wing posts

They supported the more Right Wing candidate against the (comparative to Trump) more liberal, anti-Right Hillary Clinton.

I was in TV promotions and marketing for 25-ish years and have always been interested in techniques of persuasion and how to sway beliefs and perceptions.

As well as in marketing, that is actually what Art does too: you try to take the audience – whether viewers, listeners or fiction readers – along with you.

Which is also relevant to the art of war in the 21st century.

Sun Tzu says in his influential book The Art of War that “the supreme art of war is to subdue the enemy without fighting” because the object of war should be not to destroy your enemy’s assets and power structure but to take them over intact.

In the modern world, you no longer need to physically take over your rival’s cities, economy and means of production. You do not need to actually take over your enemy’s assets and decision-making processes. What you want is the power to influence your opponent’s economic and political directions and decisions.

Undermining their strength and influence is equivalent to increasing your own.

Lest we forget, the reason Sun Tzu’s The Art of War (written in the 5th century BC) came back to prominence in the mid-1990s was that Disney company president Mike Ovitz recommended it or (in some versions of the story) allegedly gave copies to all his Hollywood executives as a training manual for navigating the corporate world. It was said that the only two books you needed to read to succeed in corporate politics were Machiavelli’s The Prince and Sun Tzu’s The Art of War.

Sun Tzu’s view in the 5th century BC

Two of Sun Tzu’s oft-quoted and closely-linked insights include:

“You have to believe in yourself”
and
“The opportunity to secure ourselves against defeat lies in our own hands, but the opportunity of defeating the enemy is provided by the enemy himself.”

In the modern world, corporations are – it could be argued – equivalent to non-geographically specific states.

You do not need to fully take over a company to influence its direction. A large shareholding will give you a voice – or being able to influence the main shareholders may suffice.

In the modern world, it is pointless – it always has been – to primarily seek to influence the thoughts and beliefs of those who agree with your own views. They already agree with and believe what you believe. To change things, you need to influence the thoughts and beliefs of those who support/bolster your opponents.

There is no point only targeting the fans of your product, although you do have to remind them your product exists.

The important thing is the target (Photo: Christian Gidlöf)

Your aim is to sell a ‘belief’ in your product to people who are not yet convinced or who are actually actively resistant and opposed to your product. Or – and this is the point – you can undermine their existing beliefs in the product they currently buy, which will increase the comparative impact of your own product.

If that product is a political system, then you do not even have to convince your opponents that your beliefs are right. By undermining their confidence in their own political system, you can strengthen your own comparative position.

If you were to bizarrely and possibly unwisely transfer this to the situation of a stand-up comedy show featuring only two comics then, if you undermine the audience’s belief and confidence in one comic, you increase their (comparative) belief in the other comic. The MC can do this in his/her introduction of the other comic to the audience. Or one comic can undermine the other’s self-belief and thus performance.

In the case of the US, let us just imagine for a moment that the Russians wanted to install Donald Trump because they believed he would be more receptive to their overtures, reduce or remove economic sanctions related to Ukraine etc etc…

Well, they must be very disappointed because he has proved to be a rogue player.

It is a bit like the Kray Twins springing ‘Mad Axeman’ Frank Mitchell from Dartmoor Prison in the 1960s and then finding that he actually was uncontrollably mad.

US cartoonist Ben Garrison’s view of the Washington ‘Swamp’

But – swings and roundabouts – Trump’s appeal is to Right Wing voters in the US and his constant harping-on about how the Washington Establishment and the ‘Fake News’ media are corrupt must relentlessly and effectively chip-chip-chip away at his loyal Right Wing voters’ belief in their own system.

That is something that no Left Wing politician could ever do.

If you undermine a building, it will collapse.

As for my comedian chum, I think he was wrong to refuse to appear on RT.

If they give him an unfettered, uncensored voice which he cannot get onto UK TV then, in terms of Art, that is a ‘win’ situation for him.

The fact that the financiers of RT may see comedy on existing British society as a way of undermining belief in the current system and appealing to the always-malleable 18-35 year old age group while appearing to be the voice of individual freedom of expression is a side issue.

Morality was never a necessity in Art.

And, of course, abroad, many took individually-seen videos of fake reporter Jonathan Pie as those of a real reporter whose off-camera personal views had been caught between recordings, thus showing the duplicity of Western reporting.

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