Archive for the ‘interests’ category


My 10 favourite Don Black lyrics

21.05.2021

I’ve bought Don Black’s The Sanest Guy in the Room, which is a great read—you know that it’s piqued your interest if you can do 110 pages in a single sitting. There’s more to go, and it’s entertaining learning a bit about the backgrounds to his songs, ‘Born Free’ arguably his best known. (I do know there are insurance commercials with the song, so I hope he, and the families of John Barry and Matt Monro are getting decent royalties from them—though it’s pretty bad I have no idea which company it’s for. I assume it’s a successor firm to AA Mutual.)
   Don has been very humble in this book and in one part, excerpts his favourite lyrics that others have written. In my mind, however, Don is the top man in his business, and it seems right that I highlight a few of my favourites out of his extensive repertoire and honour him. These come to mind, in no particular order. Many show a good use of rhyme, and all evoke imagery. The repetition of a root word is also clever. And they’re “singable”. As someone who works with the English language professionally they appeal to me for their ingenuity and, in some cases, brevity. Surprisingly, by the time I chose 10, I realized I had not included any of his James Bond lyrics.
   Any errors are mine as I recall the songs in my head.

But how do you thank someone
Who has taken you from crayons to perfume?
(‘To Sir with Love’, from To Sir with Love)

You’ve been dancing round my mind
Like a bright carousel.
(‘If There Ever Is a Next Time’, from Hoffman)

While your eyes played games with mine
(‘On Days Like These’, from The Italian Job)

This way Mary, come Mary,
While the sun is high,
Make this summer the summer that refused to die
(‘This Way Mary’, from Mary, Queen of Scots)

Walkabout,
And as you wander on
Reflect and ponder on
The dreams today forgot to bring.
(‘Walkabout’, from Walkabout)

The me I never knew
Began to stir some time this morning.
The me I never knew
Arrived without a word of warning.
You smiled and you uncovered
What I had not discovered.
(‘The Me I Never Knew’, from Alice’s Adventures in Wonderland)

Most people stay and battle on with their boredom
But what’s the sense in dreaming dreams if you hoard ’em?
(‘I Belong to the Stars’, from Billy)

Love has no season,
There are no rules.
Those who stop dreaming are fools.
(‘Our Time Is Now’, from the Shirley Bassey album The Performance)

Main attraction, couldn’t buy a seat
The celebrity celebrities would die to meet
(‘If I Never Sing Another Song’, as originally performed by Matt Monro)

There’s so much more for me to find,
I’m glad I’ve left behind behind.
(‘I’ve Never Been This Far Before’, from Alice’s Adventures in Wonderland)

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May 2021 gallery

01.05.2021

Here are May 2021’s images—aides-mémoires, photos of interest, and miscellaneous items. I append to this gallery through the month.

Sources
Viki Odintcova, via Instagram.
   Alexa Breit, photographed by Weniamin Schmidt, via Instagram.
   Vickery Electrical advertisement: something I asked my Dad to photocopy for me in the 1980s. Briefly we had one of those Apple II portables, on loan from a colleague of Dad. I can’t recall if it had one disk drive or two, but it was a fun little unit to have in my bedroom for that period. Dad was prepared to buy it if I wanted to keep it, but I didn’t have much software to run, plus I already had the Commodore 64 for schoolwork.
   Lucire issue 43 cover, photographed by Damien Carney, creative direction and fashion styling by Nikko Kefalas, make-up by Joanne Gair, hair by Kirsten Brooke Anderson, and assisted by Rachel Bell, and modelled by Elena Sartison. Find out more here.
   Drew Barrymore quotation from Elephant Journal on Twitter.
   I still have plenty of old stamps, which I tend to save for family (though I’m less discerning about those discounted Christmas ones, which I always used to buy in bulk). This is going to my cousin’s daughter and her husband, and their family.
   Comments after an article on Buzzfeed News. Business as usual for Facebook.
   Happy birthday to our niece Esme!
   Tania Dawson promotes Rabbit Borrows, from Instagram.
   Bizarre that the only car with a manual transmission on sale at Archibalds is from the 1950s. I’m sure New Zealand was majority-manual into the first decade of this century.
   More on the 1982–94 Chevrolet Cavalier at Autocade.
   Citroën C5 X, as covered in Lucire.
   Amira Aly (Mrs Oliver Pocher) photographed by Christoph Gellert, reposted from Instagram.
   Gaza statistics, sourced from Twitter.
   Even after 44½ years of living in the occident, I find certain western customs very strange. From Twitter.
   Number crunching from Private Eye, reposted from Twitter.
   Evaporated milk, reposted from Twitter.
   Triumph Herald advertisement from the Car Factoids on Twitter.
   Cadillac tailfins, reposted from Tumblr.
   This photo of Sophia Loren was captioned ‘© David Hurn | Sophia Loren, Inglaterra, 1965’ on Tumblr. I wonder if she is on the set of Stanley Donen’s Arabesque. Reposted from Tumblr.
   I had the pleasure of watching Peggy Sue Got Married again a few weeks ago. This was a nice scene at the end, that seemed to suggest that Peggy Sue had travelled back in time. John Barry’s score is sublime.
   The Murdoch method: reposted from my old NewTumbl account.
   Alexa Breit photographed by Sagaj, reposted from Instagram.

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Autocade reaches 23 million page views—and it’s more satisfying than Twitter

07.04.2021


Above: The Levdeo (or Letin) i3, not exactly the ideal model with which to commemorate another Autocade milestone.

Autocade will cross the 23 million page view mark today, so we’re keeping fairly consistent with netting a million every three months, a pattern that we’ve seen since the end of 2019.
   Just to keep my record-keeping straight:

March 2008: launch
April 2011: 1,000,000 (three years for first million)
March 2012: 2,000,000 (11 months for second million)
May 2013: 3,000,000 (14 months for third million)
January 2014: 4,000,000 (eight months for fourth million)
September 2014: 5,000,000 (eight months for fifth million)
May 2015: 6,000,000 (eight months for sixth million)
October 2015: 7,000,000 (five months for seventh million)
March 2016: 8,000,000 (five months for eighth million)
August 2016: 9,000,000 (five months for ninth million)
February 2017: 10,000,000 (six months for 10th million)
June 2017: 11,000,000 (four months for 11th million)
January 2018: 12,000,000 (seven months for 12th million)
May 2018: 13,000,000 (four months for 13th million)
September 2018: 14,000,000 (four months for 14th million)
February 2019: 15,000,000 (five months for 15th million)
June 2019: 16,000,000 (four months for 16th million)
October 2019: 17,000,000 (four months for 17th million)
December 2019: 18,000,000 (just under three months for 18th million)
April 2020: 19,000,000 (just over three months for 19th million)
July 2020: 20,000,000 (just over three-and-a-half months for 20th million)
October 2020: 21,000,000 (three months for 21st million)
January 2021: 22,000,000 (three months for 22nd million)
April 2021: 23,000,000 (three months for 23rd million)

   I see on my 22 millionth page view post I mentioned there were 4,379 entries. It hasn’t increased that much since: the site is on 4,423. I notice the pace does slow a bit once the year kicks off in earnest: it’s the Christmas break that sees me spending a bit more time on the website.
   Who knows? I may spend more on it again as I’m tiring of the tribalism of Twitter, and, most recently, being tarred with the same brush as someone I follow, even though I follow people I don’t always agree with—including people with offensive views.
   On April 4, I wrote there:

Earlier today @QueenOliviaStR and I were tagged into a lengthy thread, to which I don’t think I have the right of response to the writer.
   First up, I salute her. Secondly, she may disagree with how I use Twitter but I still support her. Thirdly, she should rightly do what she needs to in order to feel safe.
   I don’t wish to single out any account but if you go through my following list, there are people on there whose views many Kiwis would disagree with.
   Some were good people who fell down rabbit holes, and some I’ve never agreed with from the start. So why do I follow them?
   As I Tweeted last week, I object to being in a social media bubble. I think it’s unhealthy, and the cause of a lot of societal angst. It’s why generally I dislike Big Tech as this is by design.
   Secondly, if I shut myself off to opposing views, even abhorrent ones, how do I know what arguments they are using in order to counter them if the opportunity arises?
   I would disagree that I am amicable with these accounts but I do agree to interacting with some of them on the bases that we originally found.
   Ian, who is long gone from Twitter after falling down the COVID conspiracy rabbit hole, was a known anti-war Tweeter. I didn’t unfollow him but I disagreed with where his thoughts were going.
   The person who tagged us today didn’t want to be exposed to certain views and that’s fair. But remember, that person she didn’t like will also be exposed to her views through me.
   I’ll let you into something that might shock you: for a few years, when the debate began, I wasn’t supportive of marriage equality, despite having many queer friends. It was more over semantics than their rights, but still, it isn’t a view I hold today.
   If this happened in social media land, I might have held on those views, but luckily I adopted the policy I do today: see what people are saying. And eventually I was convinced by people who wrote about their situations that my view was misinformed.
   And while my following an account is not an endorsement of its views, by and large I follow more people with whom I agree—which means the positive arguments that these people make could be seen by those who disagree with them.
   People should do what is right for them but I still hold that bubbling and disengagement are dangerous, and create a group who double-down on their views. Peace!

   Maybe it’s a generational thing: that some of us believe in the free flow of information, because that was the internet we joined. One that was more meritorious, and one where we felt we were more united with others.
   We see what the contrary does. And those examples are recent and severe: we’ve seen it with the US elections, with Myanmar, with COVID-19.
   This isn’t a dig at the person who took exception to my being connected to someone, and yes, even engaged them (though being ‘amicable’ is simply having good manners to everyone), because if those offensive views targeted me I wouldn’t want to see them. And it is a poor design decision of Twitter to still show that person in one’s Tweets if they have already blocked them, just because a mutual person follows them.
   It is a commentary, however, on wider trends where social media and Google have created people who double-down on their views, or opened up the rabbit hole for them to fall into—and keep them there.
   It did use to be called social networking, where we made connections, supposedly for mutual benefit, maybe even the benefit of humanity, but now it’s commonly social media, because we don’t seem to really network with anyone else while we post about ourselves.
   Unlike Alice, people don’t necessarily return from Wonderland.
   My faith—which I don’t always bring up because one risks being tarred with the evangelical homophobic stereotypes that come with it in mainstream media and elsewhere—tells me that everyone can be redeemed, even those who hold abhorrent views.
   It’s why I didn’t have a problem when Bill Clinton planned to see Kim Jong Il or when Donald Trump did see Kim Jong Un, because engagement is better than isolation. Unlike the US media, I don’t change a view depending on the occupant of the Oval Office.
   I’ve also seen some people who post awful things do incredibly kind things outside of the sphere of social media.
   Which then makes you think that social media just aren’t worth your time—something I had already concluded with Facebook, and, despite following mostly people I do agree with, including a lot of automotive enthusiasts, I am feeling more and more about Twitter. Instead of the open forum it once was, you are being judged on whom you follow, based on isolated and rare incidents.
   I don’t know if it’s generational or whether we’ve developed through technology people who prefer tribalism over openness.
   Sometimes you feel you should just leave them to it and get on with your own stuff—and for every Tweet I once sent, maybe I should get on to some old emails and tidy that inbox instead. Or put up one of the less interesting models on Autocade. Not Instagramming much—I think I was off it for nearly a month before I decided to post a couple of things on Easter Eve—has been another step in the right direction, instead of poking around on a tiny keyboard beamed up to you from a 5½-inch black mirror.
   The computer, after all, is a tool for us, and we should never lose sight of that. Let’s see if I can stick with it, and use Mastodon, which still feels more open, as my core social medium for posting.

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Searching for Murray Smith

09.12.2020

Earlier today Strangers, the 1978 TV series created by Murray Smith, came to mind. Smith created and wrote many episodes of one of my favourite TV series, The Paradise Club (which to this day has no DVD release due to the music rights), and penned an entertaining miniseries Frederick Forsyth Presents (the first time that I noticed one Elizabeth Hurley) and a novel I bought when I first spotted it, The Devil’s Juggler. He also wrote one of my favourite Dempsey and Makepeace episodes, ‘Wheel Man’, which had quite a few of the hallmarks of some of his other work, including fairly likeable underworld figures, which came into play with The Paradise Club.
   Yet there’s precious little about Smith online. His Wikipedia entry is essentially a version of his IMDB credits with some embellishments, for instance. It doesn’t even record his real name.
   Don’t worry, it’s not another dig at Wikipedia, but once again it’s a reflection of how things aren’t permanent on the web, a subject I’ve touched on before after reading a blog entry from my friend Richard MacManus. And that we humans do have to rely on our own memories over what’s on the ’net still: the World Wide Web is not the solution to storing all human knowledge, or, at least, not the solution to accessing it.
   It’s easy to refer to the disappearance of Geocities and the like, and the Internet Archive can only save so much. And in this case, I remember clearly searching for Murray Smith on Altavista in the 1990s, because I was interested in what he was up to. (He died in 2003.) I came across a legal prospectus of something he was proposing to do, and because it was a legal document, it gave his actual name.
   Murray Smith was his screen name, and I gather from an article in The Independent quoting Smith and his friend Frederick Forsyth, he went by Murray, but the family name was definitely Murray-Smith. Back in those days, there was a good chance that if it was online, it was real: it took too much effort to make a website for anyone to bother doing fake news. My gut says it was George David Murray-Smith or something along those lines, but there’s no record of that prospectus online any more, or of the company that he and Forsyth set up together to make Frederick Forsyth Presents, which I assume from some online entries was IFS Productions Ltd. Some websites’ claim that his name was Charles Maurice Smith is incorrect.
   Looking today, there are a couple of UK gazette entries for George David Murray Smith (no hyphen) in the armed forces, including the SAS in the 1970s, which suggest I am right.
   Even in the age of the web, the advantage still lies with those of us who have good memories who can recall facts that are lost. I’ve often suggested on this blog that we cannot fully trust technology, and that there’s no guarantee that even the official bodies, like the UK Companies’ Office, will have complete, accessible records. The computer is a leveller, but not a complete one.

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NewTumbl: a parting response

05.12.2020

After I posted that I would leave NewTumbl (not quite those words—I said I would still return to check out a few people I followed), I had a very nice note from Alex, one of the US folks there whose posts I regularly enjoyed, along with those of Marius and a few others. Alex reblogged my post and you can see his additional words here. Below was my response (italics added). He’s faced ridiculous actions against his posts as well, which I allude to. I suspect he’s slightly older than me (he recalls actress Angel Tompkins, for instance, after I posted about her—and I’ve a feeling he remembers her in period, not in reruns), but not by much.

Thank you for your good wishes. It’s ludicrous, isn’t it, that something as wholesome as Samantha from Bewitched would be marked O here? There were just too many examples where the inmates are running the asylum—I had a couple of modelling images marked M despite there being no nudity, for instance—and when that kept happening, it was time to depart.
   I never really felt comfortable having blogging presences across the ’net anyway. When I joined Vox I had some trouble deciding what to put there and what to put on my main blog. Eventually I decided silly stuff would go on Vox and business stuff on my blog. But as each presence shut down (Vox today is something else entirely), I lost content. Another website called Blogcozy also went a couple of years ago and I lost my content there.
   Tumblr was that “secondary home” for over a decade before I came to NewTumbl, and I only came here after noticeable censorship at Tumblr—you couldn’t search for the word NewTumbl, for instance. But the censoring here is worse than anything there now. I’ve never had any posts there taken down other than a few by their bot, which I appealed, and won. If there was an appeal process here I might have stayed. It was one thing Tumblr did right but I get that Dean and co. lack the resources.
   As I get older, the less patience I have for those who make daft decisions—and maybe middle age has taught me that there are some people too far down the intellectual food chain for me to waste time on. You and I stick by the rules and we still get penalized—there are régimes that do this and people flee those countries!
   So consolidating everything back to my own space makes sense, even if I have to pay for the storage. It’s my place, so I can put up what I like. Because of a lot of work content I will have to monitor myself a bit, and the image gallery plug-in doesn’t show the captions in the enlarged view (I may hack the PHP files to see if I can change that), but I welcome your visits. The car posts will still keep heading up, for a start. And I will return here to NewTumbl from time to time, principally to look at posts from you, @vergangene-automarken, and a few of the regulars I followed.

   I still would like to see NewTumbl do well, but they really need to refine their post patrols, which make Mary Whitehouse look liberal.

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When Sibelius started our TV day

04.12.2020

If I hadn’t mentioned this on Twitter, I might not have had a hunt for it. When I first came to this country, this was how TV1 started each morning—I believe at 10.30 a.m. prior to Play School. I haven’t seen this since the 1970s, and I’m glad someone put it on YouTube.

   I had no idea, till I was told on Twitter by Julian Melville, that this was adapted from the National Film Unit’s very successful 1970 Osaka Expo film, This Is New Zealand, which was quite a phenomenon, but before my time here. And I wouldn’t have given it any thought if it weren’t for American Made airing on TV last weekend, where the RPO’s ‘Hooked on Classics’ was used in the score, and I got to thinking about Sibelius’s ‘Karelia Suite’, op. 11, which was contained within that piece. I’m not sure if our lives were enriched by these interconnected thoughts or whether YouTube and this post have just sucked up more time.

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December 2020 gallery

01.12.2020

Here are the images that have piqued my interest for December 2020. For November’s gallery, click here (all gallery posts are here). And for why I started this, here’s my earlier post on this blog, and also here and here on NewTumbl.


 

Sources
   Auckland City Library opening, via Auckland City Council Residents’ Group on Twitter.
   Jono Barber scanned the Aston Martin DB5 story from newspaper clippings he recently found.
   From the Instagram of hairstylist extraordinaire, my friend Adrian Gutierrez. Photographed by Steve Yu, hair by Adrian Gutierrez, make-up by Meri, modelled by Chanel Margaux.
   Volkswagen Käfer advertisement from the Car Factoids on Twitter.
   Star Trek–Star Wars series from Alex on NewTumbl.
   Manawatū Guardian front page relates to this Tweet.
   Alexa Breit promotes masks by Peggell, via Instagram.
   Amber Peebles photographed by me in 2003 on a Voigtländer Bessamatic Deluxe.
   Google Forms’ 419 scam relates to this Toot.
   Peugeot 504 advertisement from the Car Factoids on Twitter.
   Triumph TR7 brochure cover from the Car Factoids on Twitter.
   Katharina Mazepa photograph from her Instagram.
   More about the JAC Jiayue A5 (JAC J7 for export) at Autocade.
   Tardis image from Alex on NewTumbl.
   More information on the Toyota Yaris Cross at Autocade.

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To Scotland with love

10.11.2020


Danjaq LLC/United Artists

Time for another podcast, this time with a Scottish theme. I touch upon how fortunate we are here in Aotearoa to be able to go to the ballet or expos, and, of course, on the US elections (thanks to those who checked out my last podcast entry, which had a record 31 plays—sure beats the single digits!). That leads on to a discussion about A. G. Barr, Richard Madden, and Sir Sean Connery, who never said, ‘The name’s Bond, James Bond.’

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Autocade reaches 4,300 models before the month is out

31.10.2020

A very quick note, probably more for me than anyone else: the 4,300th model went up on Autocade tonight. It was slightly deliberate, since I checked the stats for the site to see we were up to 4,299. I’ve a folder of models to be added, and I admit I scrolled down a little to see what piqued my interest—having said that, it’s what I usually do anyway. But there was a desire not to add yet another two-box crossover (had enough of those for a while) or any model that would lead me to be obsessed about a full line (DAF 33, anyone?). As the 1980–4 Pontiac Phoenix is already on the site, the 1978–9 entry went up. (Yes, I disagree with Wikipedia, which has Phoenixes starting in 1977, which is true, but it was mid-year, it was officially part of the Ventura line, and Phoenix doesn’t appear in the 1977 full-line brochure.) Wikipedians can do it their way, and I’ll do it mine.
   At some point I’ll add the Oldsmobile Omega for 1975–9 and we’ll have the X-cars for those years all up.

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Was it six networks or only five? In all this excitement, they’re ‘Still the One’

23.10.2020

I’m sure there are many, many more examples of this tune being used to promote TV networks, but it seems to be a standard in at least three countries I know, and probably far more besides.
   It is, of course, ‘Still the One’, which ABC used in the US to celebrate being the top-rated network there in 1977 for the second consecutive year. It was rare for ABC to be on top, but I think the general consensus was that jiggle TV got them there.
   Australia, which has always had a lot of US influences, then used it for Channel 9 in 1978 and included the original American footage. It would have been properly licensed but in the days before YouTube, and less international travel, few would have known of the origins.
   It was then adapted for the Murdoch Press’s Sky One satellite network in the UK the next decade (did they first see it in Australia?), before being revived by 9 in Australia in 1988. It was adapted once again for TVNZ’s Channel 2 here in New Zealand to kick off the 1990s.
   The slogan was used regularly by 9 as the 1990s dawned though new songs replaced the original, and by the end of the 1990s, both Channel 9 and its NBN sister were using the familiar tune again.
   Was that the end? In 2003, WIN, another Australian network, brought it back for their promos. As far as I can tell, WIN, a regional broadcaster, doesn’t have a connection to 9, but instead has an agreement with the Ten Network there. Just to make things confusing, 9 was using it at the same time, and it continued to do so into the mid-2000s.
   A quick internet search on Duck Duck Go reveals it was originally a song performed by the band Orleans in 1976, from their album Waking and Dreaming. The song was written by the then-married Johanna and John Hall. It charted at number five in the US. Given that it was used by ABC in 1977, it would have been a familiar tune to Americans at the time. I wonder if the Halls expected it would become a TV network standard in so many countries, and what did they think?
   Let me know if there are other countries and networks that used this—I’ve a feeling it went even further!

Orleans

ABC, USA

Channel 9, Australia (1978)

Sky One, UK

Channel 9, Australia (1988)

Channel 2, New Zealand

Channel 9 and NBN, Australia (1998)

WIN, Australia

Channel 9, Australia (2003)

Channel 9, Australia (2006)

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