Tuesday, 18 October 2011

'Oh Yeah', Ash

'Oh Yeah' CD single cover.
Time for some more music.

Ash were never one of the very biggest hitters of '90s Britpop, but they did make some great records. Oh Yeah, is definitely one of them, a top-ten hit no less, but its brilliance lies in the fact that it is a song about misty-eyed nostalgia written by teenagers, for teenagers.

This is the song I was going to start with when I first thought about writing occasional music posts. When it popped up the other day I have to say it startled me - for reasons we'll get to in a moment. I bought the single back in 1996 and I liked it plenty at the time; but it is only now, fifteen years later, that the full impact can be felt.

Personally, it doesn't evoke a particular or specific memory but it revels, like a dog in Autumn leaves, in a rich sense of nostalgia. What we were thinking back then I can't remember but the track is taken from an album called 1977 and there was a sense that my generation was, even then, being encouraged to look back at our (Star Wars fuelled) childhoods as a golden age. Certainly I was introspective enough to get nostalgic about things that had happened only months or weeks earlier but, when you're twenty, that's a long time ago, of course. Thinking about it now, with all my university years compacted by hindsight, it seems at least possible that I was being sold the idea that I could be nostalgic about events and feelings that were happening even whilst the record was still playing. That might be my best guess now at what being young feels like, an instantaneous mixture of exhilaration and sadness, but this is really a back projection and an ill-formed one at that. No matter how miserable, happy or bitter-sweet you felt at the time, it is only later, physically separated by the passing of years from those feelings, that it can become nostalgia.

So when the song surfaced recently in a shuffle, it caught me by surprise even though it has been in my mind, off and on, all this time. Suddenly I was forced to listen to the song anew, to calibrate for the extra fifteen years as if they had all passed in one moment.

Listen to Oh Yeah on Spotify.

The lyrics deal with a Summer love affair remembered years afterwards and, although the word 'bitter-sweet' is often used to describe the song, really there's hardly any bitterness to it whatsoever. If there is sadness that the romance didn't last longer ("I don't know why these things ever end") then it is wholly over-shadowed by the fondness of the reminiscence. This is someone looking back with no regrets to the moment of greatest potential, of greatest excitement, the instant when anticipation peaks and beginnings begin: the moment of infinite promise when "her hair came undone in my hands".

With that, the world changes and a new endless future, full of new possibilities, is revealed:
"And, oh yeah, it was the start of the Summer.
It felt just like it was the start of Forever..."
The joy of the song, the joy of looking back, is being able to see right into that moment and yet also, simultaneously, to know everything that happened next, good and bad, and even, if you like, to watch all the subsequent years unfold in a fast-forwarded montage inside your head during the guitar solo.

In short, regardless of when or if you grew up, this is not just great pop music, it's 4'45'' of perspective-shattering temporal engineering with a sing-a-long chorus and that, Kirsty, makes it rather special.

Friday, 7 October 2011

Twitter 2 - 2 England

Wednesday, 5 October 2011

Charles V

Charles I, II, III, IV & V
Another forty seconds on the internet and there's a whole load more Charles V fun to be had. Oh yes, there is. Some of it I am remembering from long ago, some of it is brand new to me. It is all good.

Firstly, and it may be misattributed, but he is supposed to have said:
"I speak Spanish to God, Italian to Women, French to Men, and German to my Horse."

File that under 'I'm choosing to believe it, even if it isn't true.'

Secondly, he appears in another opera, Ernani, also by Verdi (never heard of it). It features his election as Holy Roman Emperor. Which is nice.

Thirdly, I mentioned he was Charles I as King of Spain and Charles V as Holy Roman Emperor. Well, it gets better even than that. Yes, I know, unbelievable.

He was Charles II in his capacity as the Duke of (amongst other places) Burgundy, Brabant and Luxembourg, and Charles III as the Duke of Guelders and the Count of Flanders, as well as being counted Charles IV as the King of Naples. That's pretty damn impressive and, I think, means he gets to build hotels without needing to buy four green houses first.

Lastly, here, in full, is his titulature:
Charles, by the grace of God, Holy Roman Emperor, forever August, King of Germany, King of Italy, King of all Spains, of Castile, Aragon, León, Navarra, Grenada, Toledo, Valencia, Galicia, Majorca, Sevilla, Cordova, Murcia, Jaén, Algarves, Algeciras, Gibraltar, the Canary Islands, King of Two Sicilies, of Sardinia, Corsica, King of Jerusalem, King of the Western and Eastern Indies, Lord of the Islands and Main Ocean Sea, Archduke of Austria, Duke of Burgundy, Brabant, Lorraine, Styria, Carinthia, Carniola, Limburg, Luxembourg, Gelderland, Neopatria, Württemberg, Landgrave of Alsace, Prince of Swabia, Asturia and Catalonia, Count of Flanders, Habsburg, Tyrol, Gorizia, Barcelona, Artois, Burgundy Palatine, Hainaut, Holland, Seeland, Ferrette, Kyburg, Namur, Roussillon, Cerdagne, Zutphen, Margrave of the Holy Roman Empire, Burgau, Oristano and Gociano, Lord of Frisia, the Wendish March, Pordenone, Biscay, Molin, Salins, Tripoli and Mechelen.
King of all Spains and Two Sicilies! I hope you all feel suitably humble.

Intersection

I had some fun combining some interests over the last few days. I'm a big admirer of information graphics - I love that a really good diagram can present complex ideas and relationships clearly and instantly - but when this is done in a beautiful or witty way then it's even better.

It's not just a recent trend either. Talking to my son about the Napoleonic Wars this week, I remembered this 'carte figurative' by Charles Joseph Minard. It's a flow chart showing the size of the French army both marching to and retreating from Moscow during the catastrophic invasion of Russia in 1812. The chart was drawn up in 1869. It not only shows the rise and fall of troop numbers and the route of the march (including things like river crossings), it also marks the time taken and, perhaps most significantly, the temperature during the long winter. It's already taken longer for me to type this explanation than it would for you, just by looking at the chart, to understand what happened to the French army. It's a meticulous work of genius.

Click here to view full size.
So, this is history crossed with information design. Brilliant. But the fun I mentioned earlier was had mixing both of these with another interest, opera.

This almost counts as a commission I suppose. My wife (you might know her) works for Houston Grand Opera and their upcoming season includes Don Carlos, by Verdi, and Maria Stuarda, by Donizetti, which both happen to be about real historical figures from sixteenth century Europe. The eponymous pair being, respectively, Charles, oldest son, and heir, of Philip II of Spain and Mary, Queen of Scots. Now, I read History at university, and the sixteenth century was my thing. By which I mean, it is the bit I remember best and therefore am most confident bluffing about. So when L asked if these two people were related, I was more than happy to get out my books and start scouring the genealogies.

The answer is, yes, of course they are: the ruling houses of Europe were very tightly bound together during this period. I had lots of fun finding out exactly how and even more fun drawing it up, especially once I discovered that some of the connecting people had also found their way into operas.



Here's the finished chart. It's simplified, only showing spouses/siblings where they are necessary, and there is one deliberate inaccuracy: Elizabeth de Valois was younger than her brother François II, not older, but showing it the other way around would mean having MQS appearing twice or even the whole thing going around in a scrolling loop! That would work nicely on screen, but on the printed page it just wouldn't do.

There's one other simplification that I had to make. Philip's father Charles is shown as being 'Charles V of Spain' but, of course, he was no such thing. He is really Charles the first of Spain and the fifth as Holy Roman Emperor, but is always known as Charles V. Interestingly, Spain went on and had another three Charleses, so if they had one more, he would be 'Charles V of Spain' and a lot of history books - and this chart - would suddenly make a lot less sense.