2016 Wasn’t All Bad — If You Picture It Like This

On top of everything else that happened in 2016, it wasn’t a great year for my blog posts. I’ve managed to update the blog at least once a month for the past few years but since my post on the EU referendum at the end of June, I’ve only managed one more — an overdue review of Isabel Costello’s debut novel (albeit a long one).

Looking back, despite my best intentions, I’m still not exactly sure why I’ve not managed to keep up the previously modest level of posting activity. It’s probably prioritisation by default as I’m still writing and doing just as much interesting stuff in between. There’s also been various developments with the novel that I’m not really able to publicly blog about on here.

But one thing I’ve kept  doing, mainly because it’s nowhere near as time-consuming as blogging, is taking lots of photos.

So in the spirit of a picture telling a thousand words here’s a photographic run through 2016 with a bit of commentary along the way

Perhaps one reason for being distracted from blogging is that I’ve spent the past year working in Soho. For example this place is just around the corner…

Beer Porn @ Brewdog Soho
Beer Porn @ Brewdog Soho

…and even though it’s no longer the groovy Swinging Sixties, there are enough spontaneous ‘happenings’ around where I work for me to have grabbed the odd evocative photo, like this one…

Swinging Soho July 2016
Swinging Soho July 2016

I walk past this iconic place almost daily (it was interesting to see it featured in The Apprentice this year)…

Liberty at Night
Liberty at Night

…and along here often too (and at the moment it’s worth walking to the end of Carnaby Street to the pop up shop set up by the V&A Museum in association with their You Say You Want A Revolution Exhibition).

Carnaby Street
Carnaby Street

And there’s plenty of things to be distracted by nearby — like the amazing Christmas angels in Regent Street…

Regent Street Angel, Christmas 2016
Regent Street Angel, Christmas 2016

…or just weird London scenes like this.

Oxford Street, Summer 2016
Oxford Street, Summer 2016

Sometimes it’s been restorative to occasionally get away from it all and lie (albeit briefly) under a tree on a patch of grass in one of those rare summer lunchtimes.

The Best View of London on a Summer Lunchtime
The Best View of London on a Summer Lunchtime

I don’t say much here about the ‘day job’. Until late 2015 that was partly because I might have been taken out and shot if I said too much! OK. That was meant to be a gross exaggeration about working in a government ministry but the way Theresa May’s government is treating its civil servants then perhaps it’s not. Nevertheless, I have a hazy recollection that I may have signed the Official Secrets Act, not that I had access to much secret stuff but I did work almost literally at the heart of government. I walked daily through the doors of a large ministry — one that was often on the front page of the newspapers — and shared lifts with cabinet ministers.

While I wasn’t exactly Sir Humphrey, I was given invaluable direct experience of the the way government works.

And in terms of writing benefit, I gained insider knowledge of the criminal justice system, through working with the police, HM Courts and Tribunals system ( even doing some work for those seditionary “enemies of the people” in the UK Supreme Court).

It’s all fantastic material should any of my future novels head in the direction of crime or politics.

The organisation where I now spend most of my nine-to-five working hours couldn’t be more different.  I won’t go into specific detail but it’s a media-tech company (hence the Soho base) and uses a lot of clever technology to encourage people to pay money to look as absurd as the people below…

The Future of Entertainment?
The Future of Entertainment?

(Apparently the gun isn’t on sale yet.) Actually, the VR (Virtual Reality) experience is so immersive that these people won’t care how they look from the outside. I’ve tried VR and it’s convincing. I predict that the technology could be on the cusp of going mainstream. And don’t take my word for it — creating a VR game was another activity to be featured on this season’s Apprentice.

2016 produced some unexpected recognition for my writing — non-fiction this time.

I was elected (or admitted or whatever they do) to full membership of the British Guild of Beer Writers. It might seem surprising to some that this organisation even exists but it has a few hundred members, including household names and virtually every author of a book on beer or pubs or contributor on the subject to any broadsheet newspaper or TV or radio broadcast.

I was elected to full membership on the basis of published examples of my writing (which I don’t tend to talk about much on this blog) so it’s a huge honour to be in the company of so many illustrious and expert writers in that field.

Here’s the image that adorns my entry in the BGBW website directory.I’m hard at work at the beer tasting side of the job!

British Guild of Beer Writers Profile Picture
British Guild of Beer Writers Profile Picture

Being a member of the guild let me rub shoulders with the movers and shakers of the beer writing world at their awards ceremony, including the odd, hairy beer-loving celebrity.

Two Hairy People
Two Hairy People

But even though my blog posts may have slipped off the radar, I’m still writing a lot of fiction, even on holiday in France (see below).

Writing by the River Dronne in France
Writing by the River Dronne in France

I could get used to that lifestyle.

With various things happening with The Angel (which, as it’s a book, have been invariably slow moving, I’ve been hard at work on another novel. A heavily adapted version of the new novel’s opening even won a prize in the Winchester Writers’ Festival Writing Can Be Murder crime writing awards this year.

I’ve kept in touch with many writing friends, enjoying their successes, for example, with winning stories at Liars’ League and other writing -related developments that can’t be blogged about. I’ve also kept up my involvement with the RNA (see previous post) and received another great critique from their New Writers’ Scheme.

By providing a series of non-negotiable deadlines every few weeks, my membership of a writing group in London has proved invaluable. I’ve propped myself up and carried on writing well into the early hours on several occasions by working on a piece from the new novel. In the summer I carried on once or twice for the whole night — going to bed (briefly) once that sun had risen.

The standard of my fellow writing group members is generally excellent (one reason why I burn the midnight oil to try to make my submissions at least presentable) and we’re very fortunate that the group is run by someone who’s a professional writing tutor at City University and novelist.

The group’s feedback is excellent — both illuminating and honest — although not usually as brutally frank as the comment below.

Honest Feedback
Honest Feedback

I’ll save details of the current work-in-progress for another post. However,  the next few photos might give a clue about some some of the things I’ve been doing that could act as background research for the world of the novel.

Here’s a shot of a pile of books waiting to be read…

Books for Research 1
Books for Research 1

…and below is another example of my methodical approach to shelving books (Owl Song At Dawn is an excellent novel published this year by my old City University creative writing tutor, Emma Claire Sweeney, who organises Something Rhymed — see earlier post).

Research 2
Research 2

I’ve not been to any music concerts quite as jaw-dropping at Kate Bush’s Before the Dawn (whose recording of the shows was released a few weeks ago and allowed me to relive sitting right in front of the spectacle — and the sonic battering of Omar Hakim’s drums — listen to the extended version of King of the Mountain on the CD and you’ll know what I mean).

But during the year I’ve been to see a couple of other giants of music from the past thirty or so years. Most recently I saw Nile Rodgers, also at the Hammersmith Apollo, who performed an incredibly energetic set of hits by Chic, Sister Sledge, Diana Ross and others (several of which I heard a few days later being played from loudspeakers in Hyde Park’s Winter Wonderland) and he also played an obscure favourite of mine, Spacer, originally by French singer, Sheila B.

Nile Rodgers, Hammersmith Apollo, 23rd December 2016
Nile Rodgers, Hammersmith Apollo, 23rd December 2016

Seeing Bruce Springsteen live has been one of those bucket list items I’ve always wanted to experience so I took my opportunity when he played Wembley Stadium in June along with 80,000 or so others. Elsewhere in the stadium were Bruce fans and writing acquaintances (and tweeters) Louise Walters (whose second novel is published imminently) and Pete Domican.

Springsteen’s stamina and his rapport with a stadium audience are awesome. He played from around 6.30pm to just before 10pm, non-stop. The sound where I was sitting in the south stand was fairly ropy but I was more dumbfounded by the behaviour of the people in the (not very cheap) seats around me. As can be seen from one of the earlier photos, I like a pint of beer, but many of the mostly middle-aged, middle-class audience seemed to treat the Springsteen show like a visit to a very expensive pub — possibly reliving their rose-tinted memories of some student bar. They constantly shuttled to and from the very expensive Wembley bar and then, inevitably, to the toilets. While loudly declaring their devotion to ‘The Boss’, some dedicated fans danced with their backs to the stage and got so drunk they either had to leave before the end. Some wouldn’t have remembered it anyway.

Springsteen,Wembley, June 2016
Springsteen,Wembley, June 2016

I was a little dubious in advance about another music-related experience in the summer — visiting the Latitude Festival in Suffolk in July. I wanted to go mainly to see Grimes: who’s nothing to do with the music genre grime, but a hugely innovative and original musician from Canada whose music defies any easy description — being both catchy and experimental — and mainly, but not exclusively, electronic.

It was described as one critic as being simultaneously like everything you’ve ever heard reassembled and remixed in a way which sounds like nothing you’ve ever heard before. That strikes me as something interesting to aspire towards in writing.

What massively impresses me about Grimes is that, with the exception of a couple of guest vocalists, she writes, sings, plays all the instruments, produces and engineers her recordings. I never get bored listening to her most recent album, the brilliant Art Angels . ‘Don’t be boring’ is another great rule of thumb.

Her live performance was equally original and self-reliant, accompanied by only a couple of dancers and her recent collaborator, Hana, on guitar (on left in photo below).

Grimes at Latitude, July 2016
Grimes at Latitude, July 2016

While waiting for Grimes, I had an unexpected opportunity to see Slaves, a two man guitar and drum modern-punk group. While the group themselves would be unlikely to dispute that their music is the opposite of subtle, their performance was amazingly good humoured (with songs about commuting like Cheer Up London or fat-cat bankers ‘Rich man, 
I’m not your bitch man‘) and created such an engagement with the audience that the FT reviewer described it as ‘life affirming’.

Before Slaves I was blown away by an electrifying performance by Christine and the Queens. Along with Art Angels, I must have listened to Chaleur Humaine (Christine and the Queen’s debut album) more than any others this year. I went to one of their two shows at Brixton Academy in November for a repeat of the live experience.

Brixton
Brixton

I’ve always had a fondness for French electronic music (Air are another of my favourites). When Héloïse Letissier (Christine is her alter-ego) announced ‘Welcome to the French disco!’ at the start of Science Fiction, one of my favourite tracks, it seemed an appropriate riposte to the narrow-minded bigotry and xenophobia that has scarred other aspects of 2016 which far too many despicable politicians and newspaper editors  spent much the year cultivating.

Christine and the Queens are inclined to do unexpected cover versions live and I had the spine-tingling moment of serendipity when they covered Good Life by Inner City, at the time of its release in the late 1980’s a much-underrated track, but one of those tracks everyone seems to know — maybe because of the almost improvised vocal line that wanders where it’s least expected? But I guess Christine and the Queens may have picked it as an antidote to all 2016’s other shit?

At the other end of the socio-political spectrum to Slaves’ music, I’d been wary of Latitude’s reputation as the Waitrose of music festivals — with rehabilitated hippies regressing to the behaviours they liked to say they indulged in their youths. And, indeed, during the day there was indeed a scattering of baby-boomer types trying to press-gang their extended families into enjoying the festival in a conspicuously worthy way.

Boomer grandchildren were transported around in flower-garlanded trolleys like this one…

Starting Them Young at Latitude
Starting Them Young at Latitude

…and as it got later the place became more like a pop-up Center Parcs, except the vegetal aromas in the forest weren’t coming from wood burning fires. Eventually as the night wore on and the older people retired to their luxury tents the sound-systems and DJ sets attracted large, bouncing swathes of  younger people, like moths to the flashing lights.

Wandering through the woods I came across a series of artists’ nstallations — and immediately recognised the brightly-coloured faces of David Shillinglaw’s work (whose studio I visited a couple of years ago with Love Art London). He’s an exceptionally friendly person and showed me around his unmistakable collection of positively painted sheds, which transformed into a music sound-system after dark.

David Shillinglaw at Latitude 2016
David Shillinglaw’s Exhortation at Latitude 2016

I’d visited Latitude for the music but was most impressed by the festival’s showcasing of all types of art. When I first arrived I stopped off at the the literary arena to listen to an author interview with the Bailey’s Prize winner, Lisa McInery. It was a nice touch to have a bookshop on site.

Coming a few weeks after the EU referendum result, Latitude was a refreshing distraction that emphasised the pleasures found away from the poisonous and vindictive political atmosphere. Ironically, the industries represented by Latitude — art, music , comedy, dance, theatre and literature — are those in which the UK is an undisputed world leader (reflected in much of the content of this blog over the past few years) but seem undervalued by the closed-minded, xenophobic, anti-intellectual, expert-dismissing philistinism of the pro-leave bigots.

The opposite of a huge festival like Latitude is the proverbial gig in the back of a pub. I spent a fascinating evening in July on the Camden Rock’n’Roll Walking Tour, led by Alison Wise. Covering the amazing musical heritage of a relatively small part of London between Camden Town tube station and the Roundhouse near Chalk Farm.

I was especially pleased that we stopped off in several pubs on the way. Each pub had a strong association with one of Camden’s music scenes through the last few decades. The Hawley Arms was Amy Winehouse’s local (with the likes of the Libertines as regulars), The Good Mixer was where the leading Britpop bands hung out, the areas around Dingwalls and Camden Lock have many punk associations and the Dublin Castle in Parkway launched the careers of Madness and many other early eighties bands.

Dublin Castle, Camden
Dublin Castle, Camden

And here’s me with Molly from Minnesota (the only time I’ve ever met her) inside the Dublin Castle in a photo taken by Alison at the end of the tour.

A Pint with Molly from Minnesota in the Dublin Castle
A Pint with Molly from Minnesota in the Dublin Castle

It’s surprising how many of Alison’s tours round Camden and elsewhere are filled by tourists from overseas rather than native Brits or Londoners. Even though I’d worked in Camden for five years a while ago I still learned a lot from the tour — all relevant for writing purposes too. Alison also does Bowie Soho tours and album cover pub crawls which I’m sure are excellent.

I’ve read a lot of books over the year, although nowhere near as many as I’d intended. I’ve worked my way through a lot of musical biographies and autobiographies, including Chrissie Hynde’s frank Reckless, the bizarre Paul Morley prose of Grace Jones’s I’ll Never Write My Memoirs and the beautifully written (and non-ghosted) Boys In The Trees by the wonderful Carly Simon.

A few Sunday Times bestselling blockbusters have also made it on to my reading list, mostly out of curiosity to understand the reasons for their success. After having read them, in most cases, I’m not much the wiser.

So I’ve been busy, enjoying lots of new experiences and taking many more photos than those above. It’s even more worthwhile then those experiences to settle into the subconscious, interact and collide and spark off little bits of unexpected inspiration I can later use in my writing. And to help the process, there’s nothing like  taking a bit of time out and reflect.

So the last photo in the post was taken on a long walk between Christmas and New Year s the sun was setting over the Chilterns — a hopefully prescient, peaceful image to usher in 2017.

Deer Against the Chilterns Sunset
Deer Against the Chilterns Sunset

Olympic Legacy?

The last few postings on this blog have been about the fast-fading memories of the 2012 Olympics and it might be asked what relevance  photos and discussions about the Olympics have for blog about writing a novel. Fair question — but I’d reply ‘everything’.

The Flag from the 1948 Olympics (and Possibly the 1936 Games) -- Wembley Stadium
The Flag from the 1948 Olympics (and Possibly the 1936 Games) — Wembley Stadium

One of the novel’s themes is identity — one of the two protagonists is non-British but sees herself as a Londoner. One source of conflict is how she deals with the difference between London and the rest of Britain — the cosmopolitan international city contrasted with the timeless English landscapes only forty miles away (and less than an hour and a half’s travelling time as I demonstrated with a nifty one train, two tube and car journey away from Blackfriars after coming into London on a Sunday for the women’s marathon).

It’s also been fascinating, from a writer’s perspective, to observe how the city has been

Three Modern Icons of London -- The Shard, the London Eye and Johnny Brownlee Getting Triathlon Bronze on the Big Screen
Three Modern Icons of London — The Shard, the London Eye and Johnny Brownlee Getting Triathlon Bronze on the Big Screen

transformed from the territory of sharp-elbowed suits into a uniquely welcoming environment. The streets and tubes have been full of people obviously enjoying themselves so much — not just international tourists but plenty of British visitors who’ve come to enjoy London. It’s wonderful to see the pleasure people take in being photographed next to Big Ben, Buckingham Palace or, bizarrely, some of the Wenlock and Mandeville figures that have been dotted around London on the Mayor of London’s strolls.

Perhaps my favourite aspect of the Olympic and Paralympic period has been the almost ubiquitous ‘games makers’. I’ve travelled to plenty of tourist cities (I used to work for British Airways) but I’ve never seen anything remotely like this small army of volunteers in stations, tourist sights and near Olympic venues whose sole objective is to welcome and help people to the city.

A Games Maker Points The Way -- Exhibition Road
A Games Maker Points The Way — Exhibition Road

And they’re still doing it. I was given a free copy of this week’s Time Out by a games maker in Covent Garden this week and the ‘Boris’ maps they’re handing out are brilliant.

Whenever I’ve seen the volunteers I’ve feel completely humbled — and grateful that they’re giving such a good impression of the country to visitors that are here. This parallels the incredibly positive image of London that’s been projected via the Olympic media coverage to people around the world.

I wondered how long the interest in London would last after the Olympics but they appear to have been so successful that London will retain its interest as a city for a very long time for people all over the world.

One of the most intriguing aspects of the Olympics is how much London 2012 would

Do You Have A Question? Outside the V&A
Do You Have A Question? Outside the V&A

represent the rest of the country – London being seen by the rest of the country already as something apart and privileged (albeit that the Olympic Park is situated in some of the poorest boroughs of the country on any measure). This could have been a valid criticism until the medals started coming in and that the importance of achievement on home soil was — and our first wasYorkshire’s Lizzie Armitstead’s silver on Sunday in the women’s cycle road race (of which I saw the start and almost finish – see photos on my Olympic photo page).

The athletes who ‘medalled’ (to use that jarring verb-noun mutation) have come from all parts of the country — from Jessica Ennis’s Sheffield to Andy Murray’s Dunblane to Ben Ainslie’s Cornwall to Greg Rutherford’s prosaic Milton Keynes.

It was weird for me to discover that Mo Farah comes from Feltham (where I worked for four years and used to drive past Farah’s school almost every night) and that he trained at St. Mary’s College in Strawberry Hill, Twickenham for ten years, while I was living just up the road.  My personal connections are tenuous at best but I guess millions of people are doing the same up and down the country — which hopefully proves a point about a sense of ownership.

Alistair Brownlee Running Towards His Gold in the Triathlon
Alistair Brownlee Running Towards His Gold in the Triathlon

The theme of identity — the question of ‘who are “we”‘ — might perhaps be the most lasting legacy of these Olympic games (and ‘we’ as the British appear to be extraordinarily unified, at least from the media coverage) — and that’s a big issue in my novel.

Setting is also important in the novel. I’m not sure why but I was on the Jubilee Line heading for Westminster to find a place to watch the women’s marathon and I decided to switch at Bond Street to the Central Line and head to St. Paul’s instead. Co-incidentally, I’ve been revising a part of the novel where my characters walk around St. Paul’s, which was a good move in terms of getting good places to watch the runners come past. The marathon route followed closely, if not identically, the route that my characters take around the Blackfriars/St. Paul’s area.

The Finish Line on the Mall
The Finish Line on the Mall

Sport is also drama in a very pure sense — with commentators and competitors using the same lexicon as writers do about constructing narrative — with expectations, twists and tuns, surprises, sub-plots, etc,.

The BBC are very good at creating montages of these sporting moments but, for me, there was one that transcended them all. It was when Gemma Gibbons, the Judo player from Charlton, exceeded her expectations by winning her semi-final bout with a single move. She started crying and looked upwards, mouthing ‘I love you, mum’. Her mother died of leukaemia eight years before, having pushed her daughter into starting her judo career. It was a candid moment that must have made anyone who’s ever lost a parent break sown in a similar way.

Some Very Lucky People Down There
Some Very Lucky People Down There

Then there’s the parallel of novel writing with sporting achievement. I was reading a conversation on Twitter today between some literary agents who were making the point to writers that novel writing is more like a marathon than any other event, which certainly seems true in my case.

There are plenty of parallels between these athletes training away in anti-social hours for four years and undiscovered writers who similarly toil with no guarantee of reward for their efforts — and also of the odds against achieving success. I’m not sure they stand up in detail but there are certainly morals of perseverance, determination and self-belief that can apply to writers as much as athletes.

The East End -- Then and Now
The East End — Then and Now (from the BT Observation Wheel, Victoria Park, Hackney)

But one thing Olympic athletes have that writers don’t is an organisation like Sport England — whose various programmes in identifying talent have given financial and coaching support to those they’ve identified as having promise. That’s the opposite of the literary world where writers invest in their own training and there’s comparatively tiny government funding to help nurture new talent.

Coming third in the medal table, perhaps the sporting approach works?

Mad Men in the Serpentine
Mad Men in the Serpentine

The Gravediggers

A close friend of mine, Charlie Mackle, has come up with a series of short pieces (almost flash fiction in some cases) about a fictional pub that sounds like the dark twin of ‘The Angel’ — it’s ‘The Gravediggers Arms’. There seems to be some cross fertilisation going on (some names are oddly similar) but the style is much more comic and plays to the gallery of its intended audience and, I have to say, is somewhat less polished than ‘The Angel’s later drafts (there may even be typos).

But it’s been published and has a few fans who have even written in to the editor to complement Charlie. Should I be getting  jealous?

He’s let me post a pdf of the first nine instalments in ‘The Gravedigger’s’ story in the attached pdf. Click on the pub sign to open the file.

The Gravediggers' Arms
The Gravediggers' Arms

Penthouse and Pavement

We ran on past our finishing time last night in our workshop — so late that the university building was locked up before Guy and I had our tutorials with Alison. These then took place on an amenable table outside the Queen Boadicea pub on St. John Street (quite apt for my novel). More of the consequences of the tutorial in a later post. This meant I missed a meeting I was hoping to pop into in High Wycombe (also in a pub) and got home quite late. However, I stayed up to watch a fascinating documentary on Heaven 17’s 1981 album ‘Penthouse and Pavement’.

This came out around the time I did my ‘O’ levels and, while I loved the Human League and Soft Cell and others, I wasn’t quite old and trendy enough to have bought ‘Penthouse and Pavement’, although I think I knew of its existence. When I went to university I got to know the album pretty well. I even think I played tracks off it, like ‘(We Don’t Need This) Fascist Groove Thang’ when I did the Friday night disco a couple of times at the student union. (It’s hard to believe, I know, but I did a bit of DJ-ing when I was 18 and then did a weekly show with my friend Hog Head on the student campus radio station when I was at UC Santa Barbara.)

Watching the documentary made me realise how much of a subconscious influence it must have been on me as many elements seems to have already turned up in my novel so far. It was said on the programme that ‘Penthouse and Pavement’ was actually a concept album for the 80s — obviously contrasting the disparity of wealth in the Thatcherite early 80s of the penthouse dwellers with those living on the pavement: the vinyl LP had a ‘Penthouse’ side and a ‘Pavement’ side. The brilliant cover, ‘like a cheesy company annual report’  as I think someone commented, was an ironic, arty comment on capitalism with the suited, pony-tailed band members striking yuppie poses — handshaking, on the phone doing a deal — which anticipated the Loadsamoney culture by five or six years.

The part of ‘The Angel’ that I’ve written so far has remarkable similarities — James starts high up in a gleaming office block, coming down to street level to meet grimy, struggling Kim. A stretch of pavement also plays a big part in one chapter. Thematically the characters represent the tension between penthouse (James) and pavement (Kim). The vocals on the title track, my favourite, are also an interplay between Glenn Gregory’s world-weary, deep male tones and sparky, soulful female vocals on the chorus (someone called Josie James, who’s not the woman on the video). That’s similar to the exchange of points-of-view I have so far in the novel. I’d also like to achieve a similar effect (for the City part of the novel anyway) with the prose as Heaven 17 achieve with the music — quite fast, sparse, sly, unpredictable — but not taking itself too seriously.

I guess I could elaborate further and speculate that the first track off Heaven 17’s next album, ‘The Luxury Gap’, becomes the next theme of the novel — ‘Temptation’. This track has been released in several different edits — and often turns up on compilations. My favourite is when Carol Kenyon’s ooh-oohing is allowed to run its full length (just before ‘step by step, day by day’). This is another track with a male-female dynamic and is relevant to the next part of The Angel — particularly the lines taken from the Lord’s Prayer ‘Lead us not into temptation’. In fact the next two singles off The Luxury Gap also fit my story — ‘Come Live With Me’ and ‘Crushed By The Wheels of Industry’ — this is now starting to get worrying.

I looked up the video of Penthouse and Pavement on Youtube after the programme, which I vaguely remembered — and in another stroke of perhaps unconscious serendipity the actress who plays the spying secretary is almost the spitting image that I hold my mind of Kim — once she’s got herself healthy in the countryside — she’s even got green(ish) eyes. (The actress is called Emma Relph — who was in the 1981 Day of the Triffids and is now apparently an astrologer.) The video is embedded below — take a look at the typewriter and photocopier — yet other artefacts don’t seem to have changed too much in 29 years.