Showing posts with label reviews. Show all posts
Showing posts with label reviews. Show all posts

Thursday, 15 August 2013

NOW TV box: a mini-review

I picked up a Now TV box the other day. At a tenner including postage, they're practically giving them away. Some first impressions:

Firstly, given the price, there's obviously a catch, which in this case is "Sky by stealth". We've never had any sort of Sky product, so now they have our contact details plus viewing habits via the box, which is presumably worth the cost of subsidising the box alone. It's also very firmly squared at tempting viewers into premium Sky packages (sport and movies).

But the fact there was a catch was obvious, and it doesn't detract from the product itself. So how does it hold up?

The box itself is small, unobtrusive and simple to set up. Getting started out-of-the-box iss a matter of minutes. Yes, you'll need to have wifi and a HDMI port in your TV, but most people will have those these days. The only slightly finicky thing about setup is that you need to have a "NOW TV account" which is different from the details you give Sky when ordering the box itself. I may be wrong, but it seems to create an account you either need to order a Sky Sports Day Pass (£10) or sign up for a month's free trial of Sky Movies. I opted for the latter and got as far as this screen:


Shurely shome mishtake? Impressively quick customer service from @NOWTV replied to my cynical tweet and assured me that the trial would indeed be free, but even so I see no reason to provide my credit card details for a free service (isn't that what porn websites do?). Hint: if you get as far as this screen, you'll already have a username and password on the site, so you can abort your oder at this point and still have enough details to get the box started.

Functionality itself is pretty limited but has one major strength, namely the ability to get iPlayer onto a non-smart TV. This in itself is the main benefit and makes it worth the price. There's also Channel 5 on demand; apparently ITV and Channel 4 are in the pipeline, which would be nice.

There are other apps - most of which are pretty pointless, although being able to watch TED talks on TV is quite cool. In addition, for non-smart TV owners like me, there's no obvious way to download films to a TV, so the fact that Sky have sneaked in there with a cheap box means that if I want to download a film, I may just go with Sky's NOW TV service, purely for convenience.

Vimeo is included but YouTube is not, which is a major drawback. I'll also have to wait for Google to release their Chromecast before I'll be able to watch BT Sport on the TV rather than the laptop, which is irritating. So for the moment I'm thinking of it as an iPlayer-only device.

However, the ability to buy a Sky Sports day pass is a major attraction for me. Priced at a tenner, it's teasingly affordable compared to the £40-odd I'd need to shell out for a full-blown subscription. Previously, the day passes were only available via my PC, so I may well pay for the occasional day watching the Ashes, Ryder Cup, Heineken Cup or similar. So Sky are likely to take some of my money which they otherwise wouldn't have had. It's clever marketing, in a way that both Sky and the customer are winners in their own way.

Overall: don't be fooled into thinking this is some sort of all-singing all-dancing device; it's just a way to get iPlayer onto your TV if you can't do it already. But for that alone, the giveaway price is worth it, and having the technology in place to allow you to get bite-sized versions of Sky premium products (ie sports and movies), combined with the simplicity of the product itself, make it a thumbs up from me.

Monday, 16 April 2012

Sarashwathy Bavans, Wembley - review

I made my first trip up to Wembley this weekend since my walk-about three years ago. This time we went hunting for a meal out - some prior research seemed to point to a couple of potential places at the top end of the Ealing Road: the popular chain Chennai Dosa, Palm Beach, and the one we opted for, Sarashwathy Bavans. It's a Sri Lankan/South Indian restaurant which has a second branch in Tooting.

If you're the sort of person who's bothered by the decor of a restaurant then you're unlikely to be the sort of person considering a trek up to Wembley for a meal, but suffice to say it's basically a white-walled, strip-lit diner. Not first date material unless your date is in the top percentile of interestingness and/or open-mindedness.

On the Saturday evening we were there, several Asian families were dining, some with young kids; to our left seemed to be a large family party with about fifteen people, mostly guzzling dosas, which the restaurant professes to specialise in. We've ordered dosas the last few times we've been in South Indian places (although a mate and I ordered a couple of lovely spinach dishes recently for a home delivery from Kovalam on Willesden Lane) so this time decided to go for different options.

To start we went for idly (a light ground rice/lentil cake) and methu vadai (lentil doughnuts) which came with a selection of chutneys. The methu vadai, in particular, were delicious: a strong nutty flavour - possibly a mixture of cumin and mustard, but I couldn't be sure.

The wreckage of an idly with various chutnies in the background. Far left: salt lassi

Crucially, though, the waiter (who perhaps detected a little hesitation when we came to ordering) confidently asked "May I make a suggestion?" EXACTLY what I like to hear. He suggested reducing the quantity of idly and adding some "mushrooms 65". We had no idea what these were but were happy to place ourselves in the hands of the expert - wisely so: the mushrooms were excellent. Fried in a mixture of spices, they were very dry and packed some proper heat - mango chutney provided relief. Apologies for the appalling photography.

Mushrooms "65" hidden somewhere underneath the onion rings!
To follow we went for mutter paneer which was spectacular: cheese and peas in a subtle rich sauce. . Aloo jeera was really a side rather than a main - basically potatoes in cumin seed. Once again, when I asked for chapatis, the waiter swiftly suggested that we run with a combination of chapatis and parathas. The chapatis were excellent, the paratha a little greasy for my taste.

Mutter paneer: fantastic food, not-so-fantastic photography

Aloo jeera - potatoes in cumin seed

We shared an excellent gulab jamun for dessert and finished with masala tea.

Something hot, sweet and delectable...and Rachel.


All-in with drinks, the bill came to £30.50 minus service - fantastic value for one of the better meals I've had in London. I burst out laughing at the note on the bill, presumably for the chef, underneath our starters, which stated ***ALL VERY MILD PLS*** !

Overloaded with carbs and clutching the paneer and cinnamon bark which we'd picked up in Fruity Fresh on the Ealing Road, we stumbled back out, stuffed and happy. Highly recommended and worth the trip.

549 High Road, Wembley
HA0 2DJ

Saturday, 5 February 2011

Blogger Android app - a little review

As if by magic, just a few days after I started using my new phone and implored Google to introduce an official Android app for Blogger, they've done it. The app is free and available on the Market now. But is it any good?

The app loads quickly and has a very simple interface, which is a promising start. Multiple accounts are supported, which is nice, and if you ave several blogs on the same account then these can all be updated. This reveals the first flaw: the default blog is not necessarily the last one posted to, or the most frequently updated. Mine defaults to an old, forgotten blog, which is a shame.

Understandably, formatting options are minimal, but most people wouldn't want to get that fiddle anyhow. Even on my enormous HTC Desire HD, I'll be quite happy with plain text, with the ability to update the post and make it look fancy later.

Photos can be uploaded either from the gallery, or directly from the smartphone camera; this means liveblogging from an event or news situation is easy. It certainly means that photographing directly to Twitpic is no longer the sole option.

Labels (tags) are also enabled, and there's a nice GPS feature, so that the blogger's action can be automatically added: a nice.touch.

All of this is very nice, but the official app doesn't really do anything that Blogger-droid couldn't handle. What is really criminal is that there's so syncing with the Blower account. It seems that a post from a mobile will only appear in the main account once it has been published. This means that it's not.possible to write part of a post on the go and finish it offer home on a computer, or vice versa. As someone who tends to write fairly lengthy pieces over a period of time, this is extremely frustrating - t would be nice to have a piece of work in progress bubbling away, and add to it whenever. Have an idle five minutes. The sooner Blogger sort this out the better. Some sort of spellcheck woulda be welcome, although my HTC has this built in.

All in all, the Blogger Android app does the job well enough, although I will lol forward to improved versions providing further functionality. Incidentally, I wrote this post on my phone!

Monday, 31 January 2011

HTC Desire HD - full review

It's only been two weeks, but my HTC Desire HD feels like an extra limb already and my prehistoric Nokia feels like a distant memory (it'll still be useful, though: I'll keep it by the door as something to hit burglars with).

Once you take a little while to appreciate its full functionality, it's a magnificent beast. Perhaps the best way to describe it is that it does everything you would hope a phone to do; the sort of phone that you fantasised about five years ago and thought "one day, phones will be able to do all these things..."

I was astonished to discover that it really does work straight out of the box. The 130 page PDF manual looks daunting, but it's a remarkably intuitive phone - you don't need a PHD in geekology to make the thing work, and by spending a surprisingly painless period tweaking the settings, it turns into an object combining beauty, power and common sense.

The handset itself is beautiful. There is almost no wasted space; it's all taken up by the screen. Never having had an iPhone or similar, it seems to me like a "normal" size for a phone, but there have been "ooohs" and "aaahs" wondering what it is, and admiring its dimensions. The display has been criticised for not having the same brilliance as the Samsung Galaxy S; but the resolution, to my eye, is excellent, and is bright and colourful and looks amazing...although with a pretty major caveat, of which more later.

I've seen a review of the Desire HD which advised people to think of it less as a smartphone, and more of a PDA which can make phone calls. That pretty much sums it up, but its primary purpose, for most people, will still be to make calls and send texts. Speech quality is excellent - although I have severe problems with reception in my flat, which I've never had before. Calls have cut out on more than one occasion. Texts, meanwhile, are handled in a fairly simple manner.

Contact syncing is intelligent, simple and generally good. The phone will recognise when the same contact is listed in different places (email, phone contacts, Facebook, Twitter) and prompt the user to merge them. How this will work in practice when it comes to transferring the contacts onto another phone in two years' time I've no idea, but for now, it's a simple and "quietly brilliant" system, to use HTC's own strapline. Searching for contacts is slightly clunky, and phone numbers "borrowed" from Facebook accounts are in the wrong format to call directly. Another niggle is that it's not possible to "edit" a contact that doesn't have a phone number attached; which in turn means that you can't add a phone number manually. Instead, you need to create a new contact with the phone number and then merge with the other accounts, which slightly undoes some of the excellent work done by the phone already. There is also duplication of Facebook profiles within a contact page thanks to two different Facebook applications running simultaneously (Facebook for Android and Facebook for HTC Sense, and yes, you do need them both running really), but this isn't an inconvenience, it just makes contact pages look a little cluttered.

HTC are heavily tied in with Google; so much so that I have decided to migrate from Hotmail to Gmail. It is possible, in theory, to sync with Hotmail via Microsoft Exchange, but I couldn't get it to work properly. So I took the plunge and moved to Gmail (Hotmail now allows other accounts to pick up emails automatically, which Gmail does neatly; this was the straw that broke the camel's back). In truth I'm not a huge fan of the Gmail interface on a PC, but Gmail for Android is simple, elegant and intuitive. However, I'm not convinced that emails are being picked up in anything like real time; that's a combniation of Gmail not picking up Hotmails instantly (it usually checks every 20 minutes or so, but you have no control over this) and the Gmails not being sent to the phone in real time as they should. I'm still trying to diagnose which is the greater problem, but having emails arrive an hour after they were sent is really quite annoying when the whole point of having emails on a phone should be to have them in near-real time. You can open and view Word and Excel attachments; in theory you should be able to edit them, but good luck trying to manage a spreadsheet from a mobile.

The standard Facebook and Twitter Android apps are built in and are both excellent. I'm an on-off user of Tweetdeck on a PC, but in truth the branded apps work fine. Using HTC Sense, the networks are both integrated into other functionality, via HTC Peep (the built in Twitter app) and FriendStream. The latter is essentially an aggregate feed of Twitter and Facebook; convenient and that's about it - with limited functionality to comment/reply/like etc. Notifications duplicate themselves for Twitter, too - another tiny niggle. I'm rather tempted to try uninstalling the Twitter-and-Facebook-for-HTC-Sense functionality, but there may be other implications which I'm unaware of.

Internet browsing is, quite simply, brilliant. Pages load instantly via Wireless or 3G, the automatic resizing and realigning of text is superb, and there are no sites I've visited so far that have caused any problems whatsoever. As someone to whom internet browsing on-the-go is an entirely new experience, to my amateur eye the browsing experience is almost as good as on a PC. Zooming, scrolling, and navigating are a joy.

Typing on the touchscreen is...OK. It definitely helps to turn the phone to landscape, which makes the "keys" larger, but despite the screen's size, it's impossible to get close to even a fraction of PC typing speed. I had intended to use the phone to blog on-the-go, but that'll really be a chore. On that point, it's astonishing that Google haven't built a Blogger-for-Android app; that's a serious oversight and something they need to resolve quickly as there's a Wordpress app. I've tried using Bloggerdroid which is reasonable, although it doesn't seem possible to sync with the account, meaning that part-writing a piece on the go and finishing it at a machine (or vice versa) isn't possible as far as I know.

The camera is simple to use. I haven't given it a really proper test yet, but from a bit of casual use picture quality is up there with entry-level compacts, which is all you could ask for. Video quality is seriously good, as you'd expect from a machine with the "HD" moniker. Folder management is unconvincing, however; as it uploading to a PC.

The music player is moderate - does the job, but nothing as elegant to use as my iPod Nano (and, presumably, the iPhone). The headphones, in combination with Dolby Mobile, do provide excellent sound quality, however.

There is a baffling array of mapping software - with "Maps", "Navigation", "Places", "Latitude" and "Locations". It seems that the first two are essentially Google Maps, whilst the latter three are HTC's own branded mapping system. This is confusing, but I'll be taking the advice of another review and ignoring the HTC effort in favour of Google Maps. The Google Navigation is basically a Satnav; no, it's not a TomTom, but given that it's bundled for nothing, it works very well. As an aside, it's a shame that TFL haven't released an Android app combining JourneyPlanner and Travel Alerts functionality. Here's hoping.

As for other apps: "News" is simply Google Reader. I've had an account for some months but never really got into it; it feels artificial to sit down and read a set of blog posts like a newspaper, in a structured way. Instead, I tend to use Twitter to drive interesting blog matter to my consciousness. With a mobile, however, it's a different story: public transport is the perfect time to have 20 minutes to waste to catch up on some blogs and the best thing about HTC's effort is that it caches the data offline - meaning that you can read the posts on the tube. Thus my blog habits are on the increase!

That's basically it for built in applications, although the "behind-the-scenes" functionality is extensive: voice recognition, universal search, and the ability to use he phone as a wireless hotspot (in other words, to connect a laptop to the 3G), for example, are all intelligent and work well. I haven't really got any use of HTC Sense yet, although the ability to make the phone ring remotely at full volume (if you've mislaid it) and remotely lock it or delete data is clever and sensible. There is supposedly the ability to track the phone's location via GPS - in theory, a great idea if it's been stolen - but I've had direct experience of this having met someone who'd just had theirs snatched and it didn't seem to work.

In terms of Android Store apps, I've only installed a handful. Angry Birds really does live up to the hype; Google's Sky Map and Goggles are both ace. Stupidly, the Desire HD doesn't have any obvious simple way just to jot down a note (shopping list, for example); I installed InkPad, which does the job.

So where's the catch? The Desire HD has a reputation for having a poor battery life, but it's far, far worse than I expected. With the moderate use I give it, the phone really struggles to make it through a single day. There are several solutions.

The first is to stop using so many apps, turn off unnecessary syncing and generally tone down the multitasking. This I refuse to do. There's absolutely no point in having a machine with the processor power of the Desire HD if you don't push it. Besides, as I mentioned, I like to be able to have emails and tweets coming through in  real time as if they were texts.

Next, there's an app called JuiceDefender which is, quite simply, brilliant. It intelligently manages your wireless, 3G and GPS use so that they're turned off when not needed, but will still allow connections to be made every so often to check for emails and tweets, according to your syncing settings. This works like a dream, although sometimes I'm not automatically connected to my work's WiFi - a minor irritation. While it's all customisable (more so if you pay £3), there are default settings; I anticipate setting JuiceDefender to "Aggressive" or "Extreme" for a weekend away. It's a simple, unintrusive app, which HTC should take some inspiration from. An essential installation, and the premium version is worth the investment.

However, by far the biggest juice muncher is the screen itself. This is something that you simply have to compromise on. I have the screen set to switch off after 30 seconds inactivity (which is annoying) and the brightness turned right the way down to 15% - making visibility a problem outdoors. Even so, the screen routinely uses more than half of the battery. Sorry to sound like an old man, but there's absolutely no point in having a sumptuous, high definition, colour-rich, super-bright screen, if you have to have it turned down to near-dark just to get the machine through the day. HTC really need to think about battery life and/or battery management as a matter of urgency before their next model is released, because it's very nearly a dealbreaker.

As it is, though, the HTC Desire HD is a stupendous piece of kit. Within a fortnight, it has become an essential part of my life - no exaggeration. HTC really have put usability and simplicity at the top of their priorities - with devastating effect. Connectivity ain't ever been so good.

Friday, 29 October 2010

Blasted (Lyric) - review

Why would anyone want to kill you?
Revenge. Things I've done.
I read a lot of "pre-match hype" about Sarah Kane's Blasted, and found it difficult to shake off the stereotypes of it being a "cry for help" shortly before her suicide, and didn't know what to make of the hypocrisy (there is no other word for it) of critics, who denounced it as "filth" (among other things) at the time of its first production, but lined up to laud its genius after her death. Sean Holmes takes it on at the Lyric.

I went in braced for an onslaught of harrowing visual imagery. Blasted isn't as simple as that, however. It's a series of rather disjointed tableaux, darkly comical at times, post-apocalyptic at others, with shades of everything from Greek tragedy to Wilfred Owen to Kafka along the way.

Ian and Cate are spending idle time in a hotel. The hotel is plush but bland: perhaps a Hilton or Marriott. The nature of their relationship is never fully revealed; it is mainly sexual, abusive, domineerin on the part of Ian...but Cate does not walk away. Ian's foulmouthed misogyny and vices clearly have some sort of appeal. The dialogue is framented. Many questions are unanswered at this stage: why does Ian carry a gun?

The tone darkens as scene two opens: Lydia spits "Cunt" and it is clear that she has been violated in the night. Even now, the conversations are broken and ambiguous, Ian's paranoia ever more apparent. A soldier bursts into the room, and enages in philosophical debate about the nature of wartime atrocities with Ian. From then on, the surrealism, graphic brutality and black humour crescendo to a grotesque endpiece.

Danny Webb and Lydia Wilson take on the lead roles with mixed success. They are fearsomely difficult parts to play, and the uncomfortable chemistry that is inevitable between a foul-mouthed, abusive, paranoid alcoholic and an attractive introvert thirty years his junior, is clear to see. Webb, despite a rather bizarre accent, was excellent for the most part, although he took a while to warm up. His central conversation with the soldier (it reminded me of Owen's Strange Meeting) crackles with tension, coinciding with some of the best dialogue in the play, while his descent into the tattered rags of a man towards the end reminded me somewhat of the central character of Paul Theroux's deeply disturbing The Mosquito Coast - paranoid, self-destructing, hideous. Wilson, meanwhile, plays her part bravely, but rather surprisingly is let down by technical basics rather than a lack of depth: her hammy stutter, unconvincing movement, and inability to deliver the humorous lines, are all surely details that could be ironed out, as she tackles the uncomfortable role fearlessly.

In truth the script left me rather cold. The soldier dialogue, Ian's complete mental collapse in the later stages, and some of the black gags are terrific, but ultimately I didn't find the play particularly thought-provoking as a whole. Is it shocking? Yes, the material is pretty graphic, but again, I found it all leaving little emotion on me. Much of the attention is understandably on Ian's grapples with the morals of suicide, but these are only really interesting in the context of the playwright's situation - little original thinking is presented. Meanwhile, for truly horrifying rape scenes, look no further than The Paper Birds' In a thousand pieces or Biuro Podrozy's Carmen funebre which are both infinitely more harrowing, without an explicit scene in sight. (The Paper Birds take their latest show Others to the Camden People's Theatre in a couple of weeks). But the shocking truth for me was that it all left me feeling a bit nonplussed.

Sean Holmes left me feeling pretty flat with his Three Sisters earlier this year. This time, his production is terrific, with only irritating details from the actors letting the side down. The post-holocaust latter scenes are quite brilliant, and the final scene rightly had the audience gripped in horror. A special mention to Paule Constable's lighting, which was particularly good.

Finally, a gripe. I was running late, and charged from the tube station, thrust my tenner at the box office staff, and hurried upstairs, sweating, into the auditorium at a minute to seven. It was practically empty. I had to check my ticket to confirm that it was indeed a 7pm start. Only ten minutes later did the press night audience start wandering in, seemingly under no pressure from staff to hurry up and get to their seats, and some even wandered out again to refill their drinks. The show finally got under way at a quarter past, seemingly because the becocktaildressed PR team couldn't be bothered to chivvy the critics inside. Now, I know it's press night and there are whims to be pandered to, but that strikes me as discourteous and disrespectful to the paying punters. If there's an advertised time, there should be no reason (technical hitches apart) not to stick to it.

Verdict: a brutal but disjointed script is overhyped, but neither that nor stilted acting can spoil a thoughtful production of this post-holocaust vision. Worth seeing.


Until 20 November. Tickets from £10.

Thursday, 2 September 2010

Mark Earls - "Herd": the Da Vinci Code of marketing?

Mark Earls is clearly in the wrong profession. He's an ad man by trade, but Herd: How to change mass behaviour by harnessing our true nature lurches between a vast array of subjects covering all types of popular science yet is so tangential that it rarely mentions any direct applications to marketing and market research. Instead, Earls has created a tome to make you go and think for yourself, and explore topics in greater depth.

It's a beautifully printed volume - nice paper, nice typeface and a bright pink cover of the sort that makes people on the tube squint to see what you're reading (and when they see the "how to change mass behaviour" title combined with a suitably megalomaniac look in your eyes, you'll get a bit of extra standing room, I promise you). The writing style is very much in the catchy mould of the advertising professional, albeit the author is a planner by trade, not a creative. Short, sharp sentences. With lots of sentences starting with 'with'. And many more starting with 'and'.

I'm going to start at the end, rather than the beginning: the bibliography is one of the highlights of the whole book, and the sceptic might suspect that Earls may have gone to great lengths to deliberately cram in as many offbeat and varied references as possible. From Freud to Popbitch, from Goebbels to Thatcher, at times it feels like Earls is desperate to show his versatility and open-mindedness. It should also be pointed out that Earls pays humble tributes to many writers before him, and is quick to pay credit. Indeed his praise for several books put them straight on my wishlist. One of them is Thomas Kuhn's The Structure of Scientific Revolutions, which, by sheer coincidence, I found my dad (who is neither a marketeer nor a scientific revolutionary, but a psychoanalyst) is currently reading. As an aside, I asked him about repressed memory and the controversies surrounding it; his explanation was almost word-for-word identical to the description in Herd - which certainly added a lot of credibility to the book in my eyes.

Another I did pick up: Micromotives to Macrobehaviour, Nobel Laureate Thomas C Schelling's study of the way group behaviour is affected by tiny fluctuations in individual perceptions or opinions, and the way the decisions of individuals relate to overall crowd behaviour. The examples at times seem so obvious, yet seeing them written down makes you think twice about crowd behaviour. It's absolutely compelling - one of the best I've read in ages. Herd builds on the solid foundations placed by Schelling and sexes it up; he also begins to muse on how these crowd-behaviour phenomena might affect marketing campaigns, although, perhaps wisely, leaves many questions unanswered: what would be the fun in creating loads of mysteries only to clear them all up?

Schelling touches on traffic modelling - something of which I know little, other than it's a fascinating subject and well worth exploring. One fundamental principle is that traffic jams flow backwards with a wave-like motion, as first set out by Lighthill & Whitham in their 1955 paper On kinematic waves II - a theory of traffic flow on long crowded roads (Proc. R. Soc. Lond. Vol 229 pp 312-345) - something which I'm intending to dig out of the British Library at some point, although to get started I have a copy of Robert Banks' Towing icebergs, falling dominoes and other adventures in applied mathematics (I'll report back if I ever become an amateur traffic expert). Hat tip to a Durham maths student called SG Hockey for the links - his dissertation is well worth a read, although it comes with a health warning - if, like me, mere mention of partial differential equations is enough to trigger a heart flutter, then it might be best avoided. He also links to this experiment by Yuki Sugiyama et al which is an experimental verification of, in their words, "a dynamical phenomenon of a many-particle system" of which "in general, such a system drastically changes its macroscopic aspect owing to the collective motion of many interacting particles". A direct analogy of the sort of behaviour Schelling and Earls are talking about! Keep those two chevrons' distance on the motorway, and you'll do your bit to keep traffic flowing as sudden braking slows everything down. It's easier to see on a crowded escalator: if you're in the "fast lane" (left hand side if you're from London!) bunched up close, if the person in front of you stops suddenly, you'll make a sudden stop, as will the people behind you...in seconds, the whole escalator will come to a standstill. Next time you're heading down to the Northern line at Euston in rush hour, try looking behind you to watch the jam flow backwards. It works. Keep a sedate distance, and you might just help speed people's journeys up.

So much for a book review, I hear you say. This deviated from the mainline ages ago. OK, I may be going off at a tangent, but that's probably Herd's greatest strength: for all I might be sceptical of some of its conclusions, and for all I might scoff at the writing style at times, it doesn't half inspire you to think outside the box. I found myself drifting off into daydreams of herd-like behaviour as I was reading. Earls' enthusiasm is infectious. Let's put the traffic modelling to one side for now, however - if anyone knows an expert who can explain it to me properly, please let me know.

[Update, 7 September: I'm now reading Banks' Towing Icebergs which is very interesting if you like maths, and is bringing back rather more vivid memories of differential equations than I'd like to remember; and how could I forget to link to this post comparing traffic modelling to online communities?]

Meanwhile, Mark Earls is able to cover huge amounts of ground in subjects close to his heart. He launches into a discourse on one of hs favourite subjects with gusto in the early pages. a self-confessed amateur primatologist, he explores the human/chimp boundary and concludes that socially, as well as physiologically, we are infinitesimally close: humans are an example of a super-social ape. Chapter 1 doesn't say anything particularly radical. Rather, it sets the scene for Earls' later dramas, a scene with all humans as a naturally social species, with interactions with other people playing a central role in the way we approach all problems and decisions.

The second chapter carries on where the first left off, with helter-skelter, high octane voyages of discovery covering illusions and memory - and where the two meet in the middle. Then, out of the blue on page 72, comes the first killer blow: the claim that attitudes change after behaviour, not before.

This is based on work by psychologist Daniel Kahneman, whose writing sounds fascinating and whose book Judgement and uncertainty: heuristics and biases has shot straight to the upper echelons of my wishlist.

I take issue slightly with the way Earls treated Kahneman's work, although I must stress that I haven't read the original material. Earls seems to sensationalise everything - using Kahneman's "lazy minds" theory to suggest that nobody ever makes decisions for themselves and we're kidding ourselves if we think we do. It's easy enough to understand the point he's making - and it's an important one - but does he need to exaggerate so much? It's a rather tabloid style that turned me off the book somewhat; indeed, my enjoyment of of the book fluctuated as I went through - looking something like this:
How good is Herd? It varies as you go through. (Pictorial representation only!)
Kahneman's model talks of heuristics as mentioned by Nigel Hollis - subconscious, instinctive, even irrational judgements or actions that we make. Perhaps I'm wrong, but the impression I get is that Earls takes a rather defeatist attitude: he seems to suggest that it's not possible to break down and analyse the motivations for these heuristics, let alone take advantage of the heuristics themselves and influence people's decisions in this way. Surely that is one of the great challenges for researchers and marketers: to discover the heuristics at the point of decision-making and then throw a spanner in the works by affecting those unconscious thoughts. Earls, it seems to me, seems to take a rather fatalistic attitude (repeated later in the book) - you can't do anything about it so don't bother trying.


The attitudes change... statement might be controversial, but, as Earls points out, it challenges the awareness-interest-desire-action model of marketing. Decisions might not be made in the frames of reference we assume.

The question is: how can we work out in what ways, and at what times, that decisions are made? The most obvious example of mass behaviour not working out as expected that I can think of in recent months was Cleggmania in the run-up to the general election in May this year. Before the election, I attended a social media summit where respected political commentator (and influential blogger) Paul Waugh proffered the opinion that the result of the election would depend less on social media than on television, as the televised leaders' debates would change more attitudes than anything else.

The first debate took place and Lib Dem leader Nick Clegg was almost universally acknowledged by those who watched the show live to have "won" it. Sure enough, the various opinion polls, with their varied fieldwork dates (some with rolling fieldwork dates; there was much excitement on the UK Polling Report discussing methodologies!) displayed dramatic increases in support levels for the Lib Dems.

But let's consider. Say 10 million people watched the debate on TV and another 5 million saw clips on YouTube or on the news, a total of 15 million who had seen the debate in some form, and not all of those would be eligible to vote. How many genuine floating voters among that lot? Surely not that many. Yet the changes in the opinion polls were dramatic. The Liberals gained up to 10% of the vote in the space of a couple of days in some polls. What was even more interesting was the fact that the bounce wasn't just an immediate thing: the Lib Dem share of support increased as time went on - and stayed high throughout the remaining weeks.

Surely this was a classic example of herd behaviour going on? Had the Twitter campaigns (for example #iagreewithnick) succeeded? Critically, were there people changing their preference who had not actually seen the debate at all, but were reacting to the hype and opinions of others around them? It's often said that voters like to choose a winner so that they can feel like they have contributed something personally to that success; this is why such positive language is used in electioneering. The Lib Dems, masters of the campaign trail thanks to the genius of Chris Rennard, have monopolised the phrase "Winning Here" as a result.

And yet come election day, the herd phenomenon seemed to vanish completely. Pre-debate polls were actually more acurate than post-debate. This seems to have been a dramatic example of the herd effect/word of mouth affecting opinions, yet when it came to the decision-making that really counted, the voters lost their nerve, or else there are other heuristics involved inside the ballot box. My feeling is that Earls' Herd theory needs re-evaluating after this, but also the research industry as a whole: the post-debate polls were largely worthless in predicting the election result, given that they gave a Lib Dem share of up to 30% right up until polling day, which dissolved completely. That's not to say there was necessarily any flaws with the methodologies used at the time... just that people's intentions can be different from their actions (as Earls would agree - it's a fundamental point of his book).

What can researchers learn from this? That intentions and behaviour are very different - that surveys can be a very inaccurate way of predicting future behaviour (what's the disclaimer that you get on investment ads?) - that perhaps word of mouth has its limits. Were the polls useless? Not entirely; they may be able to give a clue to the heuristics involved in making a decision on who to vote for. Besides things like fear, optimism, wanting to contribute to a success story...what could they be? I have no idea, but anyone who works them out accurately could be a person in great demand. I'd love to know what Mark Earls' thoughts are on the mechanisms at work in the weeks preceding the election.

Earls' argument, taken more generally, is that people are not really in control of their own lives and opinions. The key point for research is that what we think we believe in, or what we aspire to believe, or what we believe we do, and the actions we actually take, may not tally up at all. Now researchers have known for ages about the dangers of respondents giving "socially acceptable" answers to questionnaires. earls takes things further by arguing that traditional focus groups can never provide a natural environment in which we operate and interact, and that we need more organic ways of monitoring behaviour - ideally at the point at which those heuristics kick in. Does this simply point to social media research? I'm not so sure. Monitoring naturally occurring conversations - in forums and on Facebook, for example - can give a wealth of opinion data; but as with a focus group, one is reliant on opinions being put forward, however naturally that may be. Perhaps some of the newer, more sophisticated techniques might be the way forward in analysing decision-making processes - are they just hot air though?

Rich use of case studies is one of the best things about Herd. The Milgram Experiment is one terrifying example of just how irrational human behaviour can become when we feel that there is an "accepted" way of thinking. I'd never heard of it before and barely dared to breathe as I read Earls' two page account. I distinctly remember staring at the wall and saying "shit" repeatedly after reading about it. There are other, similarly dramatic (if less horrifying) examples which most "marketing" books won't come within a hundred miles of. For example, how much idle fun can you have with this Mexican Wave generator? (There are other similar modelling simulations here).

Having set the scene, Mark Earls proceeds to lay down his Seven Principles of Herd Marketing. Don't get too excited: this isn't a step-by-step bible on how to double your turnover in a year. Rather, they're a set of rather nebulous ideas, some of which are frustratingly obvious. Instead, you should continue to focus your attention on the game-changing case studies and analogies with which his arguments are made.

It starts unpromisingly. Urinals? C'mon Mark, it doesn't need a laborious analysis of the rules - that's known to anyone who's ever had a few drunken conversations (if you haven't, there's plenty of stuff on the internet). My attention wavered. Following this, however, we get into the real meat of the first chapter (simply entitled Interaction): it's lengthy, but rich in case data and ideas, and convincingly presented. We learn about markets; whether it's betting markets or financial markets, much of their behaviour and volatility is a result not of external factors, but purely the interactions between people concerned. Betting markets are similar - particularly when you start to think about either starting-price betting, or the new betting exchanges such as Betfair, where you take on the market directly. There are comparisons to be made with game theory - another subject which Earls touches on, and Thomas Schelling concedes that his entire book is really about game theory. I was chatting to a hedge fund trading mate of mine the other week, who is keen to learn more about game theory in order to improve his work; if I remember to dig it out of a locker in Holborn, I'll lend it to him - I might point him in the direction of Herd at the same time.

A fascinating discussion on metastability ensues, and how phase transitions can be compared to other social situations (for example crime levels). The pedigree of the theories is impressive: Earls rehashing Phillip Ball rehashing Campbell & Ormerod influenced by Schelling. It's no less entertaining for all that. Thrillingly, there appear to be quite a few comparisons to be made between physical systems and human ones.

I wonder if Earls has ever come across percolation theory, an area of statistical mechanics which has some striking similarities to some of Earls' material. It deals with lattices connected by nodes and the probability of some form of path finding its way through the lattice to an infinite degree. In other words, if each individual bit of mesh in the coffee percolator has a certain probability that coffee will manage to drip through that one bit of mesh, what is the probability that some coffee will make it all the way through? Admittedly that's an oversimplification, but percolation theory, which has applications in geology and materials, as well as, for example, the propagation of forest fires. Networks vary, depending on the number of connections at each node, and the number of dimensions. But the key property is that, for an infinitely large lattice - the simplest model - across a range if individual node probabilities (how porous one "junction" is) the probability of the percolation taking place jumps from zero to one around a critical probability. So there's a critical point above which the information will always find a way through. The similarities with human networks are clear: each node or person or organisation, connected to a certain number of other nodes, has a certain chance of "getting their message across" to the next person. The spread of information greatly increases as the influence or effectiveness of transmission of information at a particular junction reaches a critical level. I wonder if the Mexican Wave model could be predicted using percolation theory? It's a fascinating subject - one I came across at university - and one that merits further reading.

Earls only makes direct reference to market research a few times in the text, but when he does, he tends to be pithy. He cites the example of when a different methodology gave a completely different answer to a descriptive research problem he was involved with on shoe-buying habits. It's easy to see where his scepticism towards traditional research methods comes from: a methodology could conform to all the usual rules on sapling, validity and so on, and still give wildly different from another methodology which was similarly robust. (Could this provide a clue to where the opinion polls went wrong? Could we try a radically different methodology next time?)

Following on from Milgram's experiment, Earls then examines the models of influence: how we are all influenced, by whom, and in what way. He thoughtfully considers various descriptions of the types of people who are "influential" (though the definition of influential remains somewhat shrouded). There is the Opinion Leader approach - where one in fifteen are "social influencers". There is the "early adopters" model. Malcolm Gladwell has his ideas. Earls doesn't conclude in favour of any one approach - or against any for that matter; personally, I think that you can't just define what an influencer looks or sounds or behaves like - it simply depends on the situation. Opinion Leader talk about MPs, CEOs and community leaders. That all seems a bit predictable to me. I'd say it's much more of a social personality thing: in my experience, those people who are natural leaders and natural influencers within social spheres are the most exuberant, most outgoing, funniest, most interesting people. They're the ones who are good at everything - from rugby to pub quizzes - and don't waste a minute of their time lying around on the sofa but are involved in loads of activities (although they always seem to be good at computer games too, ironically). The ones with god jobs and attractive partners (they're probably attractive themselves, too; good genes, I suppose). In other words, the ones you're jealous of. The ones who suggest a trip to the pub and the rest follow. The ones everyone else is jealous, and wants to be like, and wants to copy. Is it possible to pinpoint what sets these people apart? I don't know. This does, however, extend to internet forums, where again there are influencers and leaders; this does not correlate with post counts. It's something I might write a post on at a later date.

The next couple of chapters of Herd fade away very slightly, with a rather forgettable discussions on word-of-mouth marketing - although I wholeheartedly agree that buzz isn't something you can conjure up, and that half of these word of mouth, buzz and social media "conversation" agencies are charlatans. A slightly sanctimonious chapter saying "just be yourself" follows; presumably this was the chapter where Earls convinced his publisher that this was really a marketing book rather than a popular science one, as there are quite a few case studies. Again, however, while a little predictable in its ideas (make good products, be nice and smiley to everyone and everything will be OK) it's written in a gripping style. He defines a "Belief Business" as one which applies its ideals across all forms of its operations. He gives several examples; the most obvious one that  can think of in my experience is The Lexi cinema. Run by volunteers, with all its profits going to charity, it's not just for the bleeding hearts - it's a lovely comfortable interior with great decor, friendly staff, a bar (yes, you can take in your pint), no ads, a personal introduction to the film by one of the friendly staff...all in all, it's easily the best cinema in London (and 10 minutes walk from me to boot). The damage is a tenner a time, but the overall experience is so far removed from the nearest alternative (the multiplex on the North Circular) that it's worth every penny. The Lexi has been cited before as a social media case study (not sure where the article is or who wrote it but suffice to say that their Facebook and Twitter pages are active, conversational, multilateral and give you plenty of reasons to follow them).

Earls is back on compelling form when talking about co-creativity - with countless examples, across platforms and industries (and outside industry!), of group collaboration proving to be more effective than one "genius". His nineteenth century engineering example was particularly strong; more up to date was his discussion of co-creativity in the software industry. Perhaps he missed the two more obvious examples of collaboration in the technological world: APIs, where programs and applications such as Twitter and Google Chrome are opened up, allowing developers to create extensions and tools to really enhance the user experience; and of course the ultimate co-creative project, Wikipedia. There are plenty of academic studies on the wiki phenomenon out there so I won't embarrass myself - but I will point you in the direction of one of the most interesting articles on Wikipedia: about its own accuracy.

Herd finishes on a slightly damp note of don't bother defeatism again (hence the slight tailing off of my enjoyment graph!) but I found myself coming away with more and more examples of group Herd behaviour flooding into my head, and am in serious danger of considering myself a disciple.

One example that always gets to me, although not strictly an exercise in herd behaviour (it's my blog and I'll cry if I want to), is choosing who to sit next to on the bus. If you go upstairs and each two-person seat has exactly one person sitting on it...how do you choose where to sit? Now don't say "random". There will be some sort of reason. Perhaps there's a simple rule you take: the front seat, or the one closest to the stairs. But let's say you don't. OK, if you've got the whole bus to choose from, then certain people rule themselves out straight away: those sporting loud headphones, gross obesity, and cans of special brew are unlikely to have their adjacent space taken away from them early on. But then who? Trying to deconstruct my own subconscious, I think I aim for someone as neutral and bland as possible, someone who is unlikely to make a fuss, someone who keeps their stuff on their side of the seat, someone who won't make a big deal of getting out. I don't think I'm fussed by male or female...although if I decide to sit next to a woman, it can't be the most attractive one there (too obvious), although I'll err on the attractive side of average if possible. It'll probably be someone of nondescript age (ie middle-aged). And although consciously I would never choose on racial grounds, having read Schelling I'd love to know statistically/historically whether my seating habits are biased towards white people. They probably are. Incidentally, as a schoolkid, I always used to get paranoid if I was the last person to be sat next to. In truth, I probably still do.

I could go on all day providing examples. Just the other day I was in Edinburgh at the festival (I've put some reviews up here). I went to see stand-up comic Stephen K Amos - one of the better and more dependable middle-of-the-road comedians in this country. At one point, a bloke got up noisily to go to the toilet; when he was gone, Amos decided to try a little experiment in herd behaviour (or peer pressure as he put it). He briefed us on what to do, and when the chap came back with a newly empty bladder, Amos casually said "now, c'mon folks, let's be honest here. How many of you used to pick your nose and eat it when you were younger?" As one, we put our hands up...and, sure enough, chappie's hand went up with the rest, whereupon he was stitched up royally by Amos, to his embarrassment (and our mirth).

Mark is a constant critic of the traditional focus group - his arguments perhaps point to weaknesses in even the latest trendy research-by-crowdsourcing and online communities (MROCs) - that they are artificially created and therefore can never be a place to watch true, natural interactions between people. But there is a difference between online communities and focus groups and that is timescales. Scientists can create artificial environments very easily - whether it's artificial reefs or contrived forests - and, although nature will take a while to adapt, in time the relationships between creatures and plants will adjust as normal. Hell, Big Brother was a great concept at first, and no matter how much the producers contrive to force increasingly incompatible and decreasingly interesting people who they think will be good for a fight/shag/ratings (delete as appropriate), even in a short space of time true human emotions, relationships and frailties poke out from under the veneer - and thanks to the camera work of Tony Gregory and his team, every glimpse, every pained expression, every faltering relationship will be captured on film (although, of course, the editing reduces it all to fighting, shagging and ratings). If left alone, a garden will start to sprout weeds and brambles and similarly, now matter how artificial an online community is at first, if left alone, the true insight can appear. Weeds and brambles encourage the real money shot back garden wildlife like bees, mice and foxes; perhaps if left to go to weed, online communities can also provide that rich interaction of the type that Mark Earls thinks is so elusive.

My mum (like my dad, also a shrink; breakfast-table conversations could be quite stressful) was talking to me the other day about a conference organised by the Tavistock Institute she attended in Leicester many years ago. Ironically, it's a conference on group behaviour; she told me that what was fascinating was the way that over the course of the week-long conference, groups, factions and schisms grew naturally - which all began with a rather heated discussion between the smokers and non-smokers at the conference. In the space of a few days, delegates had clustered together around natural leader-types, to the extent that cross-group interaction was almost non-existent.

"An indispensible manual for the Web 2.0 era" extols Matthew D'Ancona in the list of endorsements on the back cover. Would I be right in thinking that D'Ancona has missed the point of the book entirely? The "Web 2.0 era" isn't something new, and nothing has changed about the way people interact and behave. The behaviour just manifests itself more clearly. Opinions, trends, and the propagation of content and views can just be traced quantitatively much more easily.

Herd could be described as the Da Vinci Code of marketing. It relies a little too heavily on shock tactics, the writing style is an acquired taste, and it draws some conclusions that might be distinctly dodgy, but damn, it's good fun getting there: you'll gobble it up page after page, and come out on the other side feeling quite liberated, with some pretty major questions in your mind about how human beings work, and whether our communications efforts could all be in vain. One of those rare things that might actually justify the description "essential".

Saturday, 28 August 2010

Camille O'Sullivan - Chameleon - review

It would be unfair to expect Camille to live up to the first encounter on seeing her a second time. Her new show, Chameleon, carries on where the previous show left off, and indeed much of the material is the same. Much of the magic is lost on seeing her again. The ad libbed banter, the asides - all are carefully scripted and dropped in with consummate professionalism. But, as with stand-up comics, that's not a reason to criticise. She merely has her act highly polished, and sticks to it.

Nevertheless, in a show of less than an hour and a half, it was a shame to see so much duplicated material, even if it was some of the best songs from the previous time. Tom Waits's All the world is green, Brel's Amsterdam (equally extraordinary performance second time round), Nick Cave's The ship song and Dylan's Don't think twice, it's alright took up a substantial proportion of the show. It would be nice to see the band showcased a little more, as well, and Camille's range of songwriters is limited (all the more irritating given that she asked for repertoire suggestions on her Facebook page a few months back, then slipped into her usual Waits-Cave-Brel-Bowie hitlist).

But to show some irritation at seeing a show without many changes is churlish, as the fact of the matter is that Camille is simply a massive star. She has it all: performing ability, charisma, presence...and a stupendous voice. It was a special moment for me to hear her take on the music of Leonard Cohen, as the two singers are two of the greatest live performances I've ever seen; Tom Waits's God's away on businesswas another highlight. It's a shame that she has outgrown more suitable venues, but sitting in the sixth row, the sparks were exploding in all directions.

Verdict: Not the same seeing her second time round, but damn! this girl can perform.

Markus Makavellian's International Order - review

The cross-dressing Markus Makavellian (Drew Taylor to his family) flounces onto stage and confides that he's going to talk about poo. Sat in the front row, my heart sank a little: it's an inauspicious start. But things pick up rapidly and Taylor's loosely rhyming writing is red-hot at times, his lines rattling off like slam poetry at times. As a straight male perhaps I wasn't necessarily the main target audience for the show, but it didn't stop my enjoyment: Taylor is engaging and intimate throughout and there are times (the love-letter reading sequence) where the audience's attention is held rapt. Occasionally we drifted into clichĂ© territory but on the whole, the detail of the writing kept this well and truly afloat.


Markus Makavellian's International Order (Drew Taylor/Proud Exposure, Underbelly)


Verdict: tight writing and a flamboyant performance make this a captivating hour after a wobbly start.

Impressionist Gardens: asphyxiating colours

I'm not going to bother with preamble. The Impressionist Gardens exhibition at the National Gallery of Scotland is brilliant. It's a thoughtfully curated collection of works leading up to and including the whole Impressionist period, covering gardens and natural outdoor spaces. Quite broad, you would think, and yes: there is a wide range of subject matter, but all showing fine examples of the Impressionists' use of colour and warmth to generate atmosphere.

The first room, Towards the Impressionist Garden, explores some of the work pointing towards the techniques and styles that the Impressionists proper would use, and an increasing obsession with the natural world. The vibrancy and sensuality of Eugene Delacroix's Still life with flowers (1834) - a rust-coloured background highlighting the heady flowers. I also loved Corot's Parc des Lions at Port Marly (1872) with its silver birches dividing a brother and sister.

Mary Cassatt - Summertime (1894)
Leon Frederic - The fragrant air
Gaston La Touche - Phlox
The largest room displayed a variety of Impressionist works. One that made a real impression on me (sorry) was American painter Mary Cassatt's Summertime (1894) with wonderful depiction of a young girl's shoulder being the highlight. Even more striking, although rather hideous in some ways, was Leon Frederic's The fragrant air; it's not a beautiful depiction of a child, but you can feel the warm air, the smell of the roses, the innocence of the child. It's a startling work. A name new to me was Gaston La Touche; his painting Phlox is a celebration of whites and lights, the sunlight peeking through the leaves and bouncing off the flowers and dresses.

What surprised me was that although there are only a handful of works by the blockbuster names (Monet, Renoir, Manet, etc), the exhibition does not suffer one bit and there is absolutely no feeling of there being and "filler" (which was the problem with the Impressionism & Scotland exhibition at the same gallery a couple of years ago when they padded out the good stuff with a load of Scottish stuff from their own collection). Indeed some Scottish works were amongst the highlights: Arthur Melville's A cabbage garden (1877), placed later within the utilitarian and market gardens section, was one, with its gardener knee-deep in blue-grey cabbages. Belgian James Ensor's The garden of the Rousseau family (1885) also sits in this section, a real magical feeling, not to mention the spooky cabbages looking like eyes.

Monet - The garden at Vetheuil (1881)
It can't be said that the blockbusters aren't among the highlights, however. Sitting in a row in the main room are two Monets and a Renoir. Monet's The artist's garden at Argenteuil (a corner of the garden with dahlias) (1873) is an arresting piece: soft light and clouds (the weather has a very British, changeable feel) provide the background, with trees smudging into the sky. The viewer's eyes are drawn into the foreground where vibrant dahlias burst out of the canvas. The garden at Vetheuil, from eight years later, is overwhelmingly busy, with dense layers of dark colours. Renoir is represented by Woman with parasol in a garden, which features a striking dark figure in the background, surrounded by lush vegetation, almost like a jungle. It's this lush greenery which got me thinking, was there much Impressionism in Ireland, particularly in the southwest? The sheer lush intensity of the vegetation in parts of Cork and Kerry, where it's so warm and wet, would seem like ideal targets for French Impressionists, not to mention any local painters.

Other highlights included a Gauguin (Skaters in Frederiksberg Gardens, 1884) where the red autumn leaves highlight the coldness of the ice; Monet's pair of paintings of The parc Monceau in Paris, where he deliberately avoids the brilliant parts to concentrate instead on a shadowy corner; and The rainbow (1896) by Leopold Graf von Kalkreuth, who captures the feeble white sunlight contrasting the dark clouds perfectly. Serene figures shiver as they contemplate the rainbow.

Pissarro - The Cote des boeufs at L'Hermitage, 1877
Joaquin Sorolla y Baptista - The garden of Sorolla's house (1920)
Camille Pissarro is represented by The cote des boeufs at L'Hermitage, 1877, with its winding poplar trees which draw the viewer's eyes from one side to the other in a zigzag motion, and by the perfectly proprtioned The artist's garden at Eragny, also from 1877.

The final rooms, featuring later Impressionist works, are the most dreamlike and fantastical of all. Nature gets sinister with Van Gogh's Undergrowth while a couple of Monet's most misty, dimensionless waterlily works are also exhibited. Henri Le Sidaner - another I'd never heard of - made a wonderful piece called An autumn evening in 1895: an air of soft beige mystery surrounding a woman walking alone at gloomglow in profile. Meanwhile, Joaquin Sorolla y Bastida's The garden of Sorolla's house (1920) is idyllic, with luminist shimmering perfection in a garden framing a dazzling white chair. It's an extraordinary work. Another Van Gogh work, the rather stark, raw Garden with path (1888) feels almost harsh and uncouth by comparison to the earlier lushness (presumably what contemporary critics felt as well!).

The very best is left until last, however, with works of rose gardens on the final wall - four heady, indolent washes of colour and texture: Klimt's Rosebushes under trees is one highlight but my favourite of all is the very final work - another one by Le Sidaner: The rose pavilion, Gerberoy (1938) is a wonderfully evocative work of colour and beauty.


Wednesday, 25 August 2010

Julien Cottereau - Imagine-toi: more than just bubblegum

My Fringe kicked off on Sunday with Julien Cottereau at the welcome addition to festival venues, the Spiegeltent rip-off run by Assembly (a member of box office staff informed me conspiratorially that they were on strict instructions not to refer to the real Spiegeltent). Cottereau, a mime artist/clown formerly of Cirque du Soleil, has the audience in the palm of his hand for an hour as he creates a host of fantastical characters and situations. From a brilliant extended sequence featuring a piece of imaginary bubblegum, to various animal creations, his only props are a series of audience stooges and his voice, which he uses to concoct all manner of noises. There were times where I didn't understand what was going on, but this is natural - many of the stooges were equally perplexed, and only Cottereau's vocal talents managed to turn rather wooden stomping around into some magical moments. I'll admit that I didn't join the standing ovation at the end, but make no mistake, this is a joyous hour for young and old alike.

Verdict: gentle and uplifting, worth and hour of anyone's time.

Thrilling Brandenburgs from Gardiner topped by stupendous brass

An early start to queue for day seats meant that the hangover battle was marginally tougher than usual, but a local Sloane Square caff's bacon roll did the job and a tenner to hear John Eliot Gardiner and the English Baroque Soloists is a bargain not to pass up.

To my knowledge, I've never seen a Gardiner concert performance before - and it was worth waiting for: the Brandenburg Concertos are, for my money, about as close to musical perfection as you can get. I've known them back-to-front since I was about two feet high thanks to sitting on my dad's knee listening to Menuhin and Pinnock recordings (with the odd Wigmore trip thrown in). You'd never have anything at the Wigmore resembling the chaos of getting the audience into the auditorium in the first place at the Cadogan Hall though: they hadn't manage to get the audience completely in by the time the concert started. I promoted a concert there about four years ago and it was similarly shambolic; they no longer have the excuse of being a new venue.

We kicked thing off with the Concerto No 1, never one of my favourites, and it was a thrilling ride. Gardiner launched into the opening movement at a breakneck pace and the exhilaration never let up. It was a quite extraordinary performance. Swooping changes in colour and dynamics, a perfectly balanced second movement, and crisp main themes were excellent. Dominating everything were the horns. They hurled themselves into the fray, thrashing out cross rhythms like their lives depended on it. The music around may have been refined; the horns bullied and harried, "hooligans breaking up the party" as Gardiner observed during his excellent, and lengthy, discussions with Catherine Bott during the shifting of chairs between pieces. But these weren't modern French horns, but old-school hunting horns - nigh-on impossible to play. Both players demonstrated incredible technical skill - particularly Anneke Scott, whose trills and virtuosity were out of this world.

The slow movement was perfectly balanced, but it was in the beautiful polonaise, buried deep within the menuets (and shortly before the ludicrous horn & oboe trio), which provided one of the moments of the entire concert: following the lulling of the strings with their appoggiatura-like duplets, halfway through, where it breaks into a dance (you know the bit): suddenly, the strings crackled into electric staccato. My jaw nearly hit the floor - it was another thrilling moment. As Wagner once said of Beethoven's seventh symphony, it was the apotheosis of the dance. As a whole, the first concerto was a spectacular success.

The sixth was up next. Never a blockbuster, I've always had a soft spot for it thanks to its unique colours - dark yellows, mauves and browns provided by the instrumentation. With no natural high voices, the violas, gambas and cellos provide a rather oblique feel. The key (B flat) heightens the effect. The first movement, which has no real tune but is just a wash of dark tonal colour in languid, almost turgid rhythms, is almost impressionistic and I can think of no other piece like it. The group, now conductorless, played the colours up marvellously. The final movement, once again, as with so many of the Brandenburgs (as Gardiner emphasised) provided the EBS to show off their dance music making skills.

All the Brandenburgs are special to me but the fourth is especially close to my heart and was a disappointment. Kati Debretzeni was very accomplished in the virtuoso violin role, but I found Rachel Beckett and Catherine Latham - especially Beckett - extremely dull. The first movement plodded along, with one-dimensional staccato-by-numbers recorder playing, with little variation in tone or style. After the joys of what we had heard so far, I felt let down. The slow movement was similarly uninspiring, with only some excellent orchestral balance making up for dull solo playing. Only in the presto finale did the piece really spring to life - sparkling virtuosity from Debretzeni in the background supporting bubbly recorder solo lines. A wonderful ritornello came out of nowhere shortly before the end, reminding us that however brilliant the soloists might be, Gardiner remains the star of the show.

Technically, the day was split into two separate concerts, so after finding a paella stall just off Sloane Square (the only place that served something more promising than rocket ciabattas) it was time to go back for the second part. Among a set of some of the best music ever written, the third shades it as my favourite of all with its perfectly balanced nine solo strings and incredible fugal lines. This, too, was a riveting performance. We heard a lengthy violin improvisation as the non-existent slow movement (perhaps a bit of a partita); various conductors have done "all kinds of wanky things" according to Gardiner (Catherine Bott did well to keep her composure at this point, with producers doubtless falling off their chairs).

As wonderful as the melodies are throughout the Brandenburgs, the best thing of all is the harmonies and most of all the driving pedal basslines. None more so than in the third, where the tension is ratcheted up to fracture point at times with the bass. Although a soloist in the third, special mention must be made of the principal cellist (I will have to wait until I get back to London to check my programme for his name) whose continuo playing I thought was superb.

Gardiner and Bott indulged in some cringeworthy flogging of dead horses in repeatedly describing the music as "funky". They're really "boogying down", we were told. Set toes to curl and ears to shut. That said, I could see an obvious comparison: in the late 70s and early 80s, heavy metal guitar solos became ever more lengthy, virtuosic and gratuitous - and self-indulgently brilliant; I can't think of a better way to describe the harpsichord solo in the fifth. Ever since I was a kid I've loved the way the rest of the band gets out of the way to admire the harpsichord and this was no exception. The slow movement of the fifth always strikes me as the only movement in the entire catalogue that is genuinely dull - although the dainty last movement makes up for it.

We finished on a high note with some facemelting natural trumpet playing from Neil Brough in the second concerto, with oboe, violin and recorder providing able support. Brough didn't put a note wrong throughout and the final movement's lightning pace was a fitting way to finish.

Monday, 23 August 2010

Reviews: Daniel Kitson "It's Always Right Now Until It's Later" a winner but Grandage directs limp "Danton's Death"

It's Always Right Now Until It's Later (Daniel Kitson, BAC/Traverse) ****


Danton's Death (National Theatre) **


Daniel Kitson is the master of coaxing the most out of something so tiny that after an hour and a half in his company, you feel you'll be able to spot something idiosyncratic or beautiful in the tiniest thing you pass. It's Always Right Now... is typical Kitson fare these days, to be honest, and if you've seen any of his more recent material this will have a familiar ring to it. But that doesn't detract from it in the slightest. The night I went was the final preview night at the Battersea Arts Centre, before he transferred to the Traverse in Edinburgh for a (more expensive!) run which is currently in progress. He warned that it might be slightly shambolic, which is was at times, but not in a bad way. Kitson remains incredibly nervous, and was easily put off by shuffles in the audience; eventually this developed into a full-blown heckle from some bell-end sat next to me. As I pointed out to him afterwards, Daniel Kitson hasn't done stand-up since about 2004 (his complaint) but (as the knobwhiff found out) he is possibly the greatest exponent of putting down heckles in the world. The turbomong was duly despatched with, with savage efficacy.

Back to the show. Kitson tells the tale of two lives, independent of one another, in fleeting moments: falling off a bike, or a moment on a bus. It's loose and sprawling, but the tenderness with which he spins his yarns, and acute social observations, make it an utterly compelling 90 minutes. I emerged wide-eyed and inspired to look for more beauty in the mundane: if Kitson has a message, it is that all our lives are extraordinary. Which is an inspiring thought in itself.

Donmar Warehouse director Michael Grandage has been exalted to near-legendary status in recent years with some brilliant productions: I can vouch that his Othello with Chiwetel Ejiofor and Ewan MacGregor, Hamlet with Jude Law, Ivanov with Kenneth Branagh and Twelfth Night with Derek Jacobi were all superb.

With Danton's Death, however, Grandage hits a massive dud. It is a lengthy French Revolution saga which is completely one-dimensional (lots of shouting) and linear (brave revolutionaries jockey for position and make "inspiring" speeches, ad infinitum). Toby Stephens as Danton is completely indistinguishable from the rest of the cast, and the only memorable feature, a nice guillotining gimmick at the end, only goes a small way to recouping the time wasted in seeing this show. Avoid.

Sunday, 8 August 2010

Lush, but it ain't Tchaikovsky, Valery

World Orchestra For Peace/Gergiev - Mahler: Symphonies 4 & 5 (Proms, RAH) ****

An hour's queueing was enough to secure a gallery place to watch the world's greatest all-star orchestra on Thursday night. It felt like seeing the Harlem Globetrotters - the fact that it was Gergiev and Mahler made the gig that little bit extra tantalising. The result: a wonderful performance...but memorable Mahler it was not.

The Fourth Symphony isn't one of the blockbusters, indeed it's not one I'm particularly familiar with. The opening was arresting, with an exaggerated tempo change to the string line. Decidedly microtonal intonation marred the second movement - there seemed to be some problem with one of the horns. The third movement passed without incident; the end of the movement is bizarre, with a clashing gears tempo change and unexpected modulation late on. Camilla Tilling's soprano was beautiful throughout the finale, although solo vocals don't carry well up to the rarefied atmosphere in the gallery.

Throughout, the tones produced by the musicians were out of this world. The combined orchestral colours sounded like the Albert Hall organ at times, such was the richness of the sonorities. Strings were superb throughout. Aristocratic horns and clotted cream heavy brass (I particularly liked the tuba), but things were too measured, especially in the Fifth. The oboes didn't yowl, the clarinets weren't petulant enough. The first movement of the Fifth was taken at a majestically sombre pace, the triplets given paramount importance. I liked the interpretation. The second movement had some wonderful moments, notably the exposed cello line which was spinetingling (even hearing it puts an amateur cellist into jitters, it's a horribly stressful passage to play!). The gigantiLändler, a wild, rough jamboree, had too many ballet shoes and not enough clogs. As the movement progresses, it flirts with bitonality, and can feel like a party that's gone out of control as the harmonies and crossrhythms descent into anarchy. There was none of that here. The Adagietto was perfectly balanced, and The Greatest Note In All Music welcoming in the final movement was as pure as can be. Only then, in the final movement, did the orchestra sound truly Mahlerian. There was a swagger in the woodwind and aggression in the brass that had been lacking somewhat.

Had we been hearing Tchaikovsky, this would have been a stupendous performance. As it was, the evening was a masterclass in tight, marshalled orchestral playing. But a little more Mahlerian entropy would not have gone amiss.

Thursday, 15 July 2010

One-on-One Festival (part deux): Ontroerend Goed leave the best until last

*** Edit, February 2011 - if you're thinking about going to the 2011 One-on-One Festival, you might not want to read this, because it's a little bit spoilerish. Suffice to say that the essential shows I saw last time, and which are coming back, are the two Ontroerend Goed shows ("Internal" and "A Game of You"), "Rotating in a Room of Images" and "Rendez-Vous", all of which are outstanding ***


What a week this has been. The emotional rollercoaster of seeing the One-On-One Festival on Sunday (read that review before this one if you haven't already), the horror of Carmen Funebre, then last night a trip back to BAC to further the experiences of the other day. With it, I was hoping for some sort of closure. Closure I got.

Throughout, the key element is you the audience member; so much depends on your ability to cast yourself loose on the waves and allow yourself to be taken over by the performance, to slip into character as required. You need to be able to let your imagination run away with you pretty quickly, too: most performances are over in a matter of minutes. Those whose lack of imagination boxes them in are unlikely to benefit. In virtually every show, I came out wondering what would have happened if I had done things differently. 

A Game Of You (Ontroerend Goed) *****

After the frustration of the two previous shows, the musings, wondering "what if I had said something else?", wondering if the performances were unique to me, feeling self-centred and infuriatingly full of self-doubt, I was a little nervous before seeing A Game Of You. I purposely avoided any reviews or previews; my experience of Internal was slightly dampened by the fact I had a fair suspicion of what was to follow (not that I didn't fall into the trap). This turned out to be the key.

As a result, I won't say much about the content - there's no need for spoilers. Suffice to say that as with the other parts of the trilogy, you are played for a fool the whole way along; I walked out with a huge, imbecile grin on my face as I realised how I had been used as a plaything for half an hour. But as the company seem at pains to point out, this is a gentle piece. They have a lot of fun at your expense, but it's light teasing, not cruelty. Events move fast - you end up evaluating yourself in many different ways. A microcosm of the whole festival, you the audience equals you the performer and by placing yourself at the centre of attention, you will learn some things that perhaps you rather wouldn't.

I found out that my name is Steven, I am an artist, and I look like I spilled my dinner down my t-shirt. Tough times.

And yet seeing A Game Of You, as well as a long conversation with somebody else who'd been at Internal, confirmed something that I'd already wondered about: the Ontroerend Goed performers - barely older than me - are the masters of making you a pawn in their world, chewing you up, spitting you out, throwing you around for a while and then dumping you. They have a frighteningly powerful influence over people - shades of The Manchurian Candidate. They would be dangerous tyrants. But they aren't, they'er just frighteningly talented artists, and in the Smile Off Your Face-Internal-A Game Of You trilogy, they've created one of the top five artistic experiences I've ever had in my life.

And the feeling of being manipulated, that I had been a sucker all along, slowly gave way from one of intense self-pity to one of relief, and I started to laugh.

"He hath been most notoriously abus'd" - Olivia, Twelfth Night

2 Free (Ansuman Biswas) ****

Half an hour of breaking personal boundaries and entering situations which you would never wish to be in. Armed with a sand timer and a lantern, the participant explores a space where only by crossing the discomfort line can you experience the next stage of the show. In contrast to Ontroerend Goed, here you are on your own; there is no twist, nobody to laugh at you (which is just as well). This is about testing your own personal limits. What was it Eleanor Roosevelt said? "Do one thing every day that scares you." I let my imagination run riot. The figure in front of me - why was he there? What was his purpose? What did he need from me? How long had he been there? What should I do?

It was a deeply unsettling experience throughout, but I was proud to have overcome my doubts and inhibitions and proved my strength. The opportunity to test your inner mettle in a private half hour where nobody will judge you but yourself, is very enlightening.

Oh, and a tip: don't start emptying out the bag. You won't be popular!

Headlines (Ampersand) ****

Short and sharp. Swept off my feet and thrown into character in seconds, I had to respond instantly, and made a decent fist of it. It's a simple principle: you're thrown into an improv situation with no time to react. Again, nobody is watching except yourself, so there is nobody to judge you. Each day is a unique show; I was Ken Clarke's junior minister for the day, having to justify Clarke's statement that prison sentences should be scrapped for minor crimes. Again, as with so many shows, mental dexterity is required on the part of the participant. A bit of me wishes I had got irate and told my constituent to "fuck off and die". Ah well, next time.

I also played a minor role in a performance of The Fifteen Minute Relationship, and went Through The Wardrobe a second time; I found myself surprised to enjoy it more second time round.

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Over the last few days I have faced my own death and realised what a miserable life I've led, fallen in false love, gone through a portal to the past, gone into a dressing-up Narnia, been "notoriously abus'd" by Belgian geniuses, battled through intense discomfort, had a karaoke moment with a serving soldier, judged and been judged, laughed, cried, appreciated the inner beauty of something raw and functional, and generally seen myself from more different angles than I could possibly imagine. As others have said, as individual pieces, some were more self-contained and complete than others. But the whole festival hangs together brilliantly; let's hope it's not the last. Most importantly: damn, it was a lot of fun.