Books I read in 2005

And now, partly inspired by the fact that Martin Scorsese keeps lists entitled ‘Films I have seen this year’, I present the list of books I read in 2005:

• The Autobiography of Malcolm X
  (this book has been a huge influence on me, and I’ve read it three times now.)
  
• Our Man in Havana – Graham Greene
  
• The Third Man – Graham Greene
  
• The Basement Room (filmed as The Fallen Idol) – Graham Greene
  
• Hell’s Angels – Hunter S Thompson
  (If I was forced to pick, HST is probably my favourite writer.)
  
• All the President’s Men – Bob Woodward and Carl Bernstein
  
• The Gambler – Fyodor Dostoevsky
  (I read this in a hostel in Toronto.)
  

• The Last Season – Phil Jackson
  (…and this on the plane on the way home. This is about the LA Lakers 2003-4 season, detailing the many feuds between the team's two talented stars, Shaquille O’Neal and Kobe Bryant. It’s written by their coach.)
  
• Introducing Environmental Politics – Stephen Croall & William Rankin
  
• Saints & Spinners – David McWilliams
  (This is a kind of forerunner to The Pope’s Children – it’s different to the more well-known version – this one was written for marketers rather than for a general readership. It wasn’t what I expected but it’s very interesting. There’s a lot of pretty cynical stuff in there. It discusses Ireland’s future demographics, predicts how consumer tastes will change, and offers ways for marketers to get a piece of the action. I really like McWilliams’ analysis of Irish society and his honesty, but I don’t share his benign view of the market. I would have a more critical view of consumerism and put more emphasis on its inadequacies and its damaging effects. This book really shows the extent to which men in suits will put a huge amount of work into pigeonholing the general citizen as a very specific target market.)
  

David McWilliams

• Chronicles, volume 1 – Bob Dylan
  
• An Giall – Brendan Behan
  (Delighted with myself to have read this in the original Irish from cover to cover. Behan was not a native Irish speaker, but while in jail, he learned Irish from his cellmate. This prisoner was from Ballyferriter in the Dingle peninsula. It was in Ballyferriter that I did a week-long civil service Irish course to resurrect the Irish language within me (in 2003, I think it was).)
  
• The Brothers Karamazov – Fyodor Dostoevsky
  

Me at the entrance to Dostoevsky's gaff in St. Petersburg

• Collected Short Stories – Anton Chekhov
  (I love the Russians)
  
• Buddha: His Life and Thought – Karen Armstrong
  (This writer has serious credibility when it comes to religion. She spent seven years as a Catholic nun, has received a Muslim Media Award, and has taught in some school for the study of Judaism. I’ve seen her speak, and she has a great take on religion and how it interacts with politics and society.)
  
• Wilt – Tom Sharpe
  
• Cape Clear Island: Its People and Landscape – Eamon Lankford
  (This is about an Irish language-speaking island in Cork that I have often visited, and is one of my favourite places in the world. I think it’s the most southerly inhabited point in Ireland – the most southerly point of all is the nearby Fastnet lighthouse, which casts its light over the island at regular intervals.)
  
• The Hard Life – Flann O’Brien
  
• The Sandman Companion – Hy Bender
  
• The Prophet – Kahlil Gibran
  

Lebanese writer Kahlil Gibran

• Smoke and Mirrors – Neil Gaiman
  
• Vision and Transformation – Sangharakshita
  (A book about the Buddhist eightfold path.)
  
• Fear and Loathing in Las Vegas – Hunter S Thompson
  (200 pages of drug fuelled insanity – very un-Buddhist.)
  
• The Comedians – Graham Greene
  
• Twelve Bar Blues – Patrick Neate
  
• Justice Seeker: An Anthology in Tribute to Malcolm X – James B Gwynne (ed.)
  
• Pork Pie Hat – Peter Straub
  (an audio book.)
  
• Down and Out in Paris and London – George Orwell
  (one of my favourite books.)
  
• Death of a Salesman – Arthur Miller
  
• The Crucible – Arthur Miller

The great Arthur Miller

So that comes to an average of around two books a month. Obviously, now that I'm a student, reading has become pretty essential. But I’ve always been a big reader. I used to eat books when I was a child, and I never really take any length of a train or bus journey without a book to read. I fell out of the habit a couple of years ago, but got back into it with the help of a book group and have never looked back.

Much better than TV...

Miles underground

A strange quote from the 1989 autobiography of the great jazz legend Miles Dewey Davis III:

I did some weird shit back in those days, too many weird things to describe. But I’ll tell you a couple. I remember one day when I was really paranoid from snorting [cocaine] and staying up all the time. I was driving my Ferrari up West End Avenue and I passed these police-men sitting in a patrol car. They knew me - all of them knew me in my neighbourhood - so they spoke to me. When I got about two blocks away from them, I became paranoid and thought that there was a conspiracy to get me, bust me for some drugs. I look down in the compartment on the door and see this white powder. I never took coke out of the house with me. It’s winter and snowing and some snow got inside the car. But I didn’t realise that; I thought it was some coke that someone had planted in the car just so I could get busted. I panicked, stopped the car in the middle of the street, ran into a building on West End Avenue, looked for the doorman, but he wasn’t there. I ran to the elevator and got on and went up to the seventh floor and hid in the trash room. I stayed up there for hours with my Ferrari parked in the middle of West End Avenue with the keys in it. After a while I came to my senses. The car was still sitting where I had left it.

I did that another time just like that and a woman was on the elevator. I thought that I was still in my Ferrari, so I told her, “Bitch, what are you doing in my goddamn car!” And then I slapped her and ran out of the building. That’s the kind of weird sick shit that a lot of drugs will make you do. She called the police and they arrested me and put me in the nut ward at Roosevelt Hospital for a few days before letting me out“.

From 1975 until 1980, Davis was a self-confessed hermit, living without any meaningful contact with the outside world. He spent his days drinking Heineken and brandy, and taking heroin, cocaine, or injecting speedballs into his legs. A speedball is the lethal combination of cocaine and heroin that killed John Belushi and River Phoenix. Davis also says he “fucked all the women I could get into my house” (p. 325). And through it all, he never once picked up his horn throughout more than four years.

Reem Kelani

This is a review of a Reem Kelani gig I saw at a festival last August. Reem Kelani is a Palestinian singer who sings a mix of songs from Palestine and the Palestinian Diaspora. Her father comes from Jenin, and her mother from Nazareth. She has an incredible vocal range, and her vocal style incorporates Arabic chanting and ululations as well as conventional singing. I really enjoyed this music, which was a new kind of sound for me, as it’s not a style of music I’m familiar with. As well as loving the music in its own right, the concert was interesting because Kelani talked quite a bit about the origins and meanings of many of the songs.

There seemed to be a certain formlessness to some of the music, which left a lot of freedom for the different musicians to breathe within the structure of the songs. Kelani on vocals was backed by a bass clarinet, Egyptian violin, drums, and double bass (which was both plucked and played with a bow), but the first number was backed only with syncopated handclaps. This first song was a wedding song from Acre on the Mediterranean, and is about the bride taking the mickey out of her new husband’s family. Her family are saying that they will make their new son-in-law a shepherd or an Arabian king depending on how he treats their daughter. The song is in 6/4 time, which is a very old Palestinian rhythm, apparently.

Next was a song from Gallilee originating from the period of Ottoman rule. It is a slow, sad song, sung by the women when the men are going off to fight in a war. The music is based around a drone in E flat, I think it was – this was the tonic, and Kelani invited the audience to hum the tonic. The singing is in the tradition of the Greek orthodox church, and comes from the influence of Byzantine chanting.

The next song was about a group of women crossing the desert who are refused a lift by a convoy of caravans. They show their resilience by singing to the drivers. The tempo here was a bit faster, with the percussion more in the foreground, with Kelani playing a kind of bodhrán. She clearly still has a love and enthusiasm for this music. It was clear that she was enjoying herself on stage, dancing and communicating with her sidemen.

The next song was the highlight of the concert for me. It was called ‘Baker’s Dozen’ because of the time signature, which is a cycle of thirteen beats. Kelani described it as 12+1 beats, but to me it sounded like 3 measures of 3/4 time followed by a measure of 4/4 time. The song began with a double bass solo and then went into the 13 beat rhythm. This time signature comes from a folk tradition common to Palestine, Syria, Jordan and Lebanon.

In this tradition, even in the middle of a happy song like this one, there is a middle section where people sing of a longing for their homeland. In this way, even a wedding song can become a song of resistance (according to Kelani). This section takes the form of a dialogue between the vocalist and an instrumentalist (in this case, the bass clarinet). The singing is similar to the Spanish ‘deep singing’/canta chondo, apparently – this was an influence that the Arab influence introduced to Spain. (Kelani compared this to a scene in a Bollywood movie, where people can start singing and dancing in the middle of a battle scene, saying that this kind of mix of emotions was part of a similar tradition.)

Kelani was a mine of information, and the music itself was excellent. Very evocative. They finished up with a more conventional Western song, for which they were joined on stage by a guitar-slinging Christian minister dude named Garth Hewitt. He’s a campaigner for Palestinian human rights and so forth. This song, which I think is one of Hewitt’s, was called ‘The Death of Trees’, and is about the removal of a million olive trees since the beginning of the Israeli occupation of the Palestinian territories in 1967. These trees were sold, destroyed, or replanted in illegal Israeli settlements, and in the song they symbolise the death of a culture. This is all very well, but the music wasn’t a patch on what had gone before. Kelani’s own music really stood out from anything else at the festival, and I bought her debut album, Sprinting Gazelle, on the strength of her performance. Kelani’s vocal range is very impressive, and the instrumentation was great as well. This is great stuff.

Randy Newman

One all-time classic piece of music is the 1972 Randy Newman album, Sail Away. Newman is a songwriter who’s had big success with soundtracks to films such as Toy Story, but he started off as a guy with a piano, singing songs he had written. The music was beautiful, and the lyrics were acerbic.

The title track of Sail Away is about a slave trader recruiting in the African jungle, trying to convince the potential slaves how wonderful life would be in America:

Ain’t no lion or tiger, ain’t no mamba snake,
Just a sweet watermelon and a buckwheat cake
Everybody is as happy as a man can be
Climb aboard little wog, sail away with me

He similarly satirises a racist point of view on the song ‘Rednecks’, from his concept album Good Old Boys, by singing a song from the point of view of a white supremacist from the deep South:

We talk real funny down here,
We drink too much, we laugh too loud,
We’re too dumb to make it in no northern town –
We’re keeping the niggers down

Going back to Sail Away, there’s some great songs on there. The music is very melodic – sometimes it’s Randy and his piano, sometimes there’s a band, and sometimes there’s an orchestra in the background. Newman has been covered a lot, and included here is ‘You Can Leave Your Hat On’ (covered by Tom Jones) and ‘Simon Smith and his Amazing Dancing Bear’ (covered by the Muppets). As an atheist, one song I particularly like is the slow, mournful ‘God’s Song (That’s Why I Love Mankind)’, in which some of His distraught subjects appeal to God for answers. God replies:

I recoil in horror at the foulness of thee –
From the squalor and the filth and the misery,
How we laugh up here in heaven at the prayers you offer me,
That’s why I love mankind
…
I burn down your cities – how blind you must be,
I take from you your children and you say ‘how blessed are we’,
You all must be crazy to put your faith in me,
That’s why I love mankind

Billy Bragg gig, Vicar St. - June 3rd

Earlier this year, on June 3rd, I went to see Mr. Billy Bragg in concert for the first time. I was first introduced to his music by my girlfriend, who has been a Billy Bragg fan for many moons. She bought me one of CDs a couple of years ago, and I was immediately hooked by the first few lines of Sexuality:

I’ve had relations
With girls of many nations
I’ve made passes
At women of all classes
But just because you’re gay
I won’t turn you away
If you stick around
I’m sure that we can find some common ground

The guy is a protest singer really. In the 1980s he was involved in the collective of popular musicians called Red Wedge, which tried to get the young people of Britain to engage with politics in general and the Labour Party in particular. Red Wedge was formally disbanded in 1990, but Bragg stayed political. He has a catalogue of songs about love, life, war, and this kind of stuff - these days he seems to be mostly targeting fascism through his music with the rise of the British National Front, as well as war, racism, sexism, homophobia, etc.


The Diggers song is a good example of the kind of stuff that he sings about, and it’s particularly close to my heart, because it’s about a load of activists in the 1600s who tried to reclaim land for communal ownership. It resonates with me because I’m involved with a network in Dublin City who have set up a couple of community gardens where we grow food and link in to the local community. Here’s some Digger lyrics (the song’s actually called World Turned Upside Down):

'We come in peace' they said
'To dig and sow
We come to work the land in common
And to make the waste land grow
…
The sin of property
We do disdain
No one has any right to buy and sell
The earth for private gain’

…
From the men of property
The orders came
They sent the hired men and troopers
To wipe out the Diggers' claim
Tear down their cottages
Destroy their corn
They were dispersed
But still the vision lingers on

Bragg’s music is guitar driven stuff. I think Bragg sees himself as a punk musician, and there’s certainly some spikiness in the guitar. But it’s pretty melodic - maybe power pop would be appropriate? Anyway, I’m not too hung up on categorisation of music. It’s too easy to get bogged down in that kind of stuff.

Bragg was joined on stage for some of the tracks on keyboards by Ian McLagan, formerly of the Small Faces and the Faces. They even had a Hammond Organ. The highlight of the night might just have been a rendition of the classic Booker T and the MGs track Green Onions. (To digress, two of the MGs were Donald ‘Duck’ Dunn and Steve Cropper, and these guys have serious credibility. They were part of Dan Ackroyd and John Belushi’s touring Blues Brothers band, and can be seen in The Blues Brothers movie. They had previously been session men at Stax Studios - Booker T and the MGs were the house band , and played on some of the classic records that came out of there. Cropper was a co-writer of some incredible songs, including Sitting on the Dock of the Bay with Otis Redding, Sailing with Rod Stewart, and In the Midnight Hour with Wilson Pickett.) Bragg said that Green Onions, though instrumental, was a major political statement, being recorded in a studio in the racially segregated south by a racially integrated band.

Booker T & the MGs - revolutionaries!?

This might have been the most interesting thing he said, but Mr. Bragg talks a lot in concert. In fact, he could fairly be described as an incorrigible spoofer. He was heckled a number of times for talking too much. I don’t think he played two songs in a row throughout the whole show (except in the encore). And he wasn’t even rallying the crowd with any kind of political stuff - he was just yapping about funny stories and this kind of thing. It would have been far better if he had played a few batches of songs and chattered in between these. But he let loose in the encore, and lashed through some of his early hits.

I really enjoyed the show, but I was only familiar with a handful of the tunes. It was one of those gigs which seemed to be full of die-hard fans who knew each and every lyric “like it was written in their soul”, to paraphrase Mr. Zimmerman. Anyway, that’s enough about that.