5
Aug 2010

Something for the weekend

When I’m out walking with my mp3 player on, I often put it on shuffle and let it choose the vibe for me. Usually after three or four songs it’ll have found an album that I want to listen to and I’ll take it off shuffle. A few days ago it randomly hit upon What a Day That Was from the early David Byrne solo album, The Catherine Wheel. It’s not an album I listen to as much as some of his other work, but it’s been a joy to revisit. A mixture of songs and instrumentals, including several collaborations with Brian Eno, it was recorded as a soundtrack album for a dance company.

Now dance, as a spectacle, has never been something I’ve been interested in. I enjoy dancing, but not watching it happen. Whether it’s ballet or more contemporary stuff, it’s just not — as they say — the bag I’m into. Nonetheless, a few years back I tracked down an old VHS copy of a performance of The Catherine Wheel, partly out of curiosity and partly out of that weird completist compulsion that I still have for David Byrne’s work. Sadly, it failed to convert me and I never watched more than half of it.

Nonetheless, as an album, The Catherine Wheel is still a great listen. And that well-known Talking Heads concert film has a wonderful version of the song that drew me back to it. Enjoy…

What a Day That Was – Talking Heads
From the concert film, Stop Making Sense

Note: it was only after I published this that I realised I’m a full day early for “the weekend”. It’s just midnight and I’ve spent the entirety of Thursday convinced it was Friday. Isn’t it weird when that happens?

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3
Aug 2010

Inception

Christopher Nolan’s new film had me intrigued the moment I heard about it. After the runaway success of his big-budget comic book caper, The Dark Knight, it felt like he’d been given a blank cheque and told to let his imagination run wild. What could the writer and director of the excellent Memento do when given a blockbuster-sized palette to paint on?

Inception poster

Now, personally I was far less impressed by The Dark Knight than most people seem to have been. By trying to force comic book characters into the real world, it fell uncomfortably between two stools. It went to such effort to depict a gritty and believable world, yet was littered with obvious fantastical elements that just didn’t gel properly with the setting. It’s perfectly acceptable for Superman to don a pair of glasses and become Clark Kent, unrecognisable even to those closest to him. It’s acceptable because we know this is a comic book and we expect to suspend our disbelief on such matters. But when the film-makers seem to be suggesting that Gotham City is a fictional place but one that plays by the rules of the real world, then Batman’s disguise (a mask that fails to cover most of his face and a silly voice) just becomes a hole in the plot.

That said, it was visually impressive. Undeniably so. Despite the partial retreat from comic book sensibility, it remained stylish and sumptuous. Shades of David Fincher. And it was this that made me so interested in Inception. The constraints you must accept in order to get your hands on a major studio franchise put serious limitations on a film-maker’s creativity (as Kevin Smith explains in this wonderful anecdote about working on a draft script for Superman). So given how amazing Memento is, I was more than willing to credit Nolan with the good parts of The Dark Knight and absolve him of responsibility for the bad.

Which is why Inception held so much promise. Suddenly Nolan had the big budget and the creative control. Plus Leonardo Di Caprio plays the lead character; an actor whose recent work with Scorsese has been excellent. And then I heard the majority of the film was set inside the dreams of a character and my anticipation turned to genuine excitement.

But, as you’ve probably guessed from my tone, I was setting myself — or rather, the movie — up for a fall. The basic story is a good one… di Caprio plays a spy who, with a combination of training and technology, can enter the dreams of others (and bring a team of accomplices with him). While in the dream, he can subtly direct the attention of the dreamer and so access their memories and unconscious. He uses this ability to steal top secret information for high-paying clients. Then, one day, he gets a different request… to enter someone’s dream and plant an idea that will blossom into conscious action once the dreamer awakes. Specifically, Cillian Murphy — who has just inherited his father’s industrial empire — must be convinced to break up that empire.

Frankly that’s a fantastic plot and it could definitely make a great book or movie.

Unfortunately, it’s never going to be a great movie in the big-guns-shiny-metal / Hollywood action blockbuster genre. Having a shed-load of money to throw at a film set in dreams could have resulted in something utterly spectacular. Instead we have car-chases through mundane streets, fist-fights in hotel rooms, gun battles in the snow; all of which go on for far longer than they need to. That there are three separate sequences occurring at three different levels of the same dream is a good plot device. That they are three rather clichéd action scenes is a terrible waste. Especially since none of them seemed in any way dream-like, with only the shift between them illustrating that they’re part of the same dream.

And ultimately this is my main criticism of the film. It’s great failing. The dream sequences that take up the majority of the film are almost never evocative of real dreams. There’s an occasional Escher-influenced staircase, a couple of set-pieces where the environment shifts in unpredictable ways and one or two other optical illusions that provide pleasing little jolts, but almost nothing is authentically dreamlike.

Dreams are the product of a collision between our conscious and our unconscious minds. But despite plenty of talk about it, Inception never truly accesses the unconscious. Everything feels solid and rational even when the characters insist it’s not. The interminable fight scenes are no different to the fight scenes in any action movie. A train suddenly appears out of nowhere during a car-chase, but you don’t think “oooh… just like in a dream!”. Because it’s not just like in a dream.

Yes, the bit when di Caprio’s character finally gets to “the bottom level” of the dream gets vaguely interesting, but it only lasts for a few brief minutes (unlike the constant fist-fights).

In the end I emerged from the cinema feeling distinctly underwhelmed. I’ve subsequently read reviews that complained that the plot got too convoluted, which — frankly — was the precise opposite of my impression. The plot took a glorious premise, one that could have become a brain-bending, visually magnificent masterpiece and instead played it dreadfully safe, offering up an action movie with a minor twist. Which is sad, because I know there was the seed of a great film in there, and based on Memento I suspect Christopher Nolan could have made it.

He just didn’t this time.

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2
Aug 2010

On This Deity

Just a quickie, this. Must be something in the air… or p’raps a case of great minds thinking alike… but just as I return from my traditional summer blogging sabbatical, so Dorian Cope has resurrected the excellent On This Deity.

Billed as “Commemorating culture heroes & excavating world events”, On This Deity aims to present a daily ‘anniversary’ post (for a full year, no less), each one investigating a different historical event or figure from a perspective somewhat outside the mainstream.

Always fascinating and well-written (if last year’s beta version is anything to go by) it’s a worthy addition to any blogroll.

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2
Aug 2010

Sherlock

I’m a big fan of Sherlock Holmes. I read all of the original stories when I was a kid and again when I was ill a few years back (they’re perfect reading while ill… stimulating but not too taxing, and evocative enough to lift you out of your present circumstances and transport you elsewhere). I’ve also got the complete box-set of the Granada Television series starring Jeremy Brett* which is endlessly rewatchable. Brett’s eccentricity in the role is exactly how I imagined Holmes when I first read the stories. Others insist that the rather more restrained Basil Rathbone is the perfect Holmes. They are, of course, entitled to their opinion (absurd though it may be) but for me Jeremy Brett will always be the definitive Sherlock Holmes.

Nonetheless, I was intrigued when I heard about the new BBC adaptation. Updated to modern London and given the faintly irritating first-name-only title of “Sherlock”, it had the potential to be rather ridiculous. As I said to Citizen S when we sat down to watch the first episode, “99% of television is utter crap, so statistically this is likely to be utter crap”.

Sherlock Holmes and Watson

Well, having seen the first two episodes, I am very happy to be proved wrong. It’s actually rather good. The production has managed to update the characters and setting while somehow retaining enough of that stately Victorian grace that defined the Granada series. Benedict Cumberbatch plays Holmes far closer to the Brett than Rathbone end of the spectrum. In the first episode he describes himself as a “high-functioning sociopath”, a kind of nonsense pseudoscientific phrase that nonetheless suits the character perfectly (and I don’t mean that in a bad way).

There’s a dry humour to the proceedings that drifts just close enough to sheer silliness for enjoyment but never crosses the line and bursts the bubble of dramatic tension. And for those intimately familiar with the source material, there are a vast array of knowing winks and nods to the original Holmes. The “three patch problem” line made me laugh out loud and Holmes’ use of a smartphone to discover that Cardiff was the only place that had the appropriate weather to fit the facts was the perfect update of the original character’s constant trawling through newspapers and reference books.

Interestingly, the heart of the adaptation is Watson. Played wonderfully by Martin Freeman, he’s brought far more to the fore than in previous screen outings, or indeed than in the original stories. Like the original Watson, Freeman is a military surgeon returned from active duty overseas and clearly misses the action. Action he finds aplenty when he teams up with Holmes.

Apparently the BBC have only commissioned three episodes, so the final one will be next Sunday. If you’ve not seen the first two, then I’d advise you to track them down this week (if you’re in the UK then they’re probably on iPlayer… if you’re not, then you might have to wade into the murky waters of the torrent networks, though you didn’t hear that from me) and watch them before the final episode.

It’s a clever, well-written series with new mysteries that nonetheless retain a similar atmosphere to the originals. It’s not the best thing you’ll ever see, not even the best Holmes you’ll ever see, but it is part of that elusive 1% of television that’s not utter crap.

And for that, I am thankful.

* Aside: I met Jeremy Brett once. He was a neighbour of a friend of mine and he invited us in for a sherry one evening. Yes, a sherry! He was exactly as I expected him to be… a wonderful gentleman of the Old School.

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2
Aug 2010

Exodus. Movement of da people

Back in April I predicted that the collapse of the Irish economy would lead to a new wave of Irish emigration. Figures published a few days ago confirm that this is now underway.

In fact, in a survey of EU members, outward migration from Ireland is already almost double that of Lithuania — the country with the second-highest rate. The Irish per annum emigration rate currently stands at 9 per thousand people. That’s almost 1%. Which is very high indeed. What makes it even more startling is the contrast with a decade ago when Ireland’s inward migration was the second highest in the EU (at 8.4 per thousand).

Of course, this fact suggests that much of the current exodus is a result of our immigrant population returning home. The people who came to Ireland to meet the massive demand for labour have seen that demand dry up, and those who didn’t put down roots are now moving on to pastures new. It’s a strategy that served the Irish well for almost 200 years.

Destination Unknown

But according to the Economic Social Research Institute, while returning foreign nationals do make up the largest percentage of the current emigration, young Irish males also account for a very large proportion. Of course, it’s hardly a coincidence that this particular demographic would usually form the bulk of the workers in the construction sector. When the choice is between an ever-decreasing dole cheque or a job in exotic climes, a lot of young men find themselves choosing a one-way ticket to Melbourne.

And even the fact that an increasing number (albeit still a very small number) have chosen to join the British army and seek their action in Helmand province rather than the nightclubs and beaches of Australia doesn’t surprise me. Personally I don’t ever get bored, but I’m told it can be a powerful motivator*. After all, what other explanation can there be? I can get my head around young British men signing up to be shot at, half a planet away from home. Misguided though they are, I assume they believe that at some level they are protecting British interests, and that’s important to them.

Presumably though, that can’t be the motivation for the average Irish lad who signs up. So it must be boredom. Either that, or they just want to do violence to strangers.

I dunno, maybe I’m being harsh. Maybe they seek a kind of nobility… the life of The Warrior. Honour in duty and all that stuff. Frankly I think it’s all a big con. Defending your home from attack… yes, there’s an honour in that. But flying to Central Asia to kill people who pose no real threat to you or those you love? There are vested interests who want young people to do that, and they’ve fed them a bunch of lies to get them to willingly comply.

It’s been the same for millennia.

Of course, the youngsters getting shot at beneath a British flag in Afghanistan don’t exactly form a significant proportion of the new wave of Irish emigration. They are merely a dramatic example of the desperation that faces many, now that the corpse of Celtic Tiger has finally begun to stink. For me, growing up in Dublin in the 1970s, Ireland was a place that promised little and delievered even less. The generation born in 1990 were raised in a completely different Ireland. One that offered excitement, prosperity and fulfillment. Leastways, that’s how it seemed.

The reality, of course, wasn’t like that at all. Built on debt and absurd claims of everlasting growth, it was the hollow promise of consumerism. A dark, gaping emptiness that gnawed away at the soul of Irish society. Better to be promised nothing and take delivery of it, than be promised happiness and fulfillment only to take delivery of alienation and neurosis. The Celtic Tiger was a hoax from the start. Even the good days weren’t all that good. Yeah, we’ve got plasma screen televisions and BMWs but we’ll be paying for them long after they’re landfill.

Trouble is, the generation leaving their teens now have been raised on those promises. Indoctrinated — like so many others, the world over — by celebrity culture and advertising. Genuine fulfillment in family, friends and community becomes almost impossible to achieve when you’ve been raised in a culture that savagely undermines them. From infants they’ve been shown a world where wealth equates with happiness. And denied the opportunity to test it for themselves, they simply don’t understand it’s a lie.

* In an interview he gave in 1980, JG Ballard said “everywhere is infinitely exciting, given the transforming power of the imagination”. I recall reading that and nodding vigorously; it’s something I’ve felt my whole life.

Image copyright: prozac1 / FreeDigitalPhotos.net

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1
Aug 2010

It Says Here

Imagine switching on the TV at quarter to nine some Tuesday morning and seeing this.

I thought I’d share an odd slice of the 80s with my one remaining reader. The song and the performance are classic Billy Bragg. Strident, no-nonsense social commentary that remains as relevant now as it ever was (more so, in fact). But the context is just so bizarre. BBC Breakfast Time television… a cultural vacuum designed to do nothing more than fill air-time between news bulletins. Possibly the most conservative (small ‘c’) broadcasting environment outside US televangelism; certainly not a place you’d expect to hear a hard-hitting assault on tabloid media culture and conservative (small ‘c’ and capital ‘C’) politics.

Introduced by Selina Scott in a positively restrained hair-do (bearing in mind the year) holding an album in a manner which suggests she’s never seen one before. And followed by Mike Smith (Princess Diana’s favourite DJ, let us not forget) looking bewildered; no doubt trying to work out how to segue between a song telling us that “politics mix / with bingo and tits / in a money and numbers game” into Russell Grant’s astrology segment.

Anyhoo, enjoy the song. It’s a bit of a belter.

It Says Here — Billy Bragg
Live on BBC Breakfast Time, 1984

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25
May 2010

David Byrne to sue the Governor of Florida

David Byrne is currently preparing a lawsuit against the Republican Governor of Florida, Charlie Crist, for the use of Road to Nowhere in a political campaign. Check out the full story.

Besides being theft, use of the song and my voice in a campaign ad implies that I, as writer and singer of the song, might have granted Crist permission to use it, and that I therefore endorse him and/or the Republican Party, of which he was a member until very, very recently. The general public might also think I simply license the use of my songs to anyone who will pay the going rate, but that’s not true either, as I have never licensed a song for use in an ad. I do license songs to commercial films and TV shows (if they pay the going rate), and to dance companies and student filmmakers mostly for free. But not to ads.

I’m a bit of a throwback that way, as I still believe songs occasionally mean something to people — they obviously mean something personal to the writer, and often to the listener as well. A personal and social meaning is diluted when that same song is used to sell a product (or a politician). If Crist and his campaign folks had asked to use the song, I would have said no — even if they had offered a lot of money, such as I have been offered in the past for ad use (though I’ve always turned these offers down).

Byrne is one of my favourite artists, as regular readers will know. The fact that he has made, and continues to make, records that mean more to me than almost any others is further enhanced by his remaining one of the few artists who have resisted the lure of commerical advertising. One can only imagine how much money he’s been offered for the use of certain songs in his back catalogue and deeply admire his artistic integrity. For me, hearing a song or piece of music in an advert almost always destroys it. So given the importance of his music to me personally, I hope and pray he maintains his stance.

Go David!

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17
May 2010

American: The Bill Hicks Story

Last week I was lucky enough to get free tickets to a preview screening of American: The Bill Hicks Story. I’ve been a huge fan of Bill Hicks since the early 1990s. To my eternal regret, I discovered him about two weeks after his last gig in the UK. I remember first watching a video of Relentless* — the Montreal show that paved the way for his international success — and realising immediately that almost all stand-up comedy I’d encountered ’til that point had been complete shit.

At the time I was fascinated by the idea of rockstar-as-shaman; the jester figure who nonetheless holds the power to effect real change… shifting consciousness and perspective. And by extension, culture and politics. I saw Bill Hicks doing the same thing in a different medium. The least mediated of all ‘the media’, in fact. People were showing up, and paying, just to hear him talk. And not always simply because he made them laugh… some at least, wanted to listen to him proselytize. To hear what he had to say.

And I was one of them. When his comedy veered too far into polemic he’d joke about being “at the wrong meeting”, but I always wanted to know where that other meeting was. And could I go? Even now, sixteen years after his death, a new film about Bill Hicks is an exciting prospect to me.

American: The Bill Hicks Story

But is it an exciting film? Well, the first thing to point out is that any film liberally peppered with clips of Hicks at work is going to find it hard to make me dislike it. And I certainly didn’t. But I’d be lying if I said it was all I’d hoped for. If anything I was itching for more clips of Bill and less of the surrounding narrative. Not because an exciting film can’t be made about the life of Bill Hicks, but because this one sadly falls a little short.

Perhaps there is an inevitability to that, though. When the subject of a biography is famous for his consummate skill as a speaker, it’s always going to be a let-down when most of the film involves other people speaking about him. In many ways, the 1994 documentary (It’s Just A Ride) produced by Channel 4 and found on the Totally Bill Hicks DVD is better because it tells more of the story through Bill’s own performances.

Using animated photo montages and the occasional ‘talking head’, American: The Bill Hicks Story is told in a rather matter-of-fact manner that never really gets at the deeper issues that inspired and drove him. We’re told about his strict parents, religious upbringing and consequent rebellion against that authority. We learn of his battle with alcohol, his psychedelic awakening and his sense of futility when faced with the twin walls of indifference and hostility that the American public threw up around him. But it’s all conveyed in a rather blank and unengaging way. It’s like someone reading out the recipe for your favourite meal, but never allowing you to taste it.

Sixteen years ago Bill Hicks became one of my major influences. Mix tapes I put together at the time had snippets of his material between some of the tracks. Phrases and phrasing from his routines became shared jokes among my friends; and not always because they were the funniest lines. Often it was because Hicks simply got to the root of an issue more succinctly than anyone else could… is there a better analogy for the US military-industrial complex than “Pull up G-12”? Can anyone top his “… so I said “forgive me” as an example of the deep contradictions we routinely gloss over in our lives? Thanks to Bill Hicks it became possible to enunciate the words “Drink Coke” in such a way as to make reference to the inherently pornographic nature of commercial advertising and the tendency of modern society to reduce even the most sacred of things to yet more fuel for the engines of profit… to be consumed and shat out like everything else. All that; merely by adding a pause and a particular intonation to an existing advertising slogan.

Even today, among fans of Bill Hicks, that short-hand is still going strong. When a TV commercial tries to sell us something using the music of a once-respected artist, the phrase “sucking Satan’s pecker” comes unbidden to our minds. When we hear yet another X-Factor wannabe popstar clone sleepwalk through a classic song, we silently scream “play from your fucking heart!” at our TV or radio. And every time a politician scares us with tales of some foreign threat to our way of life, we see Bill Hicks playing the role of Jack Palance in Shane.

Hicks was an incredibly funny man. Not to everyone’s taste, certainly, but if you got him then you really got him. Beyond that, however, he was a cultural commentator and social critic with truly rare insight. A man who courageously spoke the truth even when he knew it was torpedoing his own career. In our modern world of crass commercialism and unfettered consumption, where the corporate media is working overtime to hide from us the consequences of our suicidal lifestyles, the voice of Bill Hicks is sorely missed.

As for American: The Bill Hicks Story? Any film that allows you to see snippets of Bill’s stand-up on the big screen is to be recommended. And perhaps the fact that — as a longtime fan — there was little in the film that I hadn’t already seen or didn’t already know, means that I’m being unfairly critical on what may well be a wonderful treat for those less familiar with his work. Overall, it’s far from a ‘bad’ film. And if it turns a few more people onto the work of the great man… then it’s a very welcome addition to the unjustly slim body of work by — and about — Bill Hicks.

* Those of you looking to track down Relentless should be warned that the 2006 DVD release is rather poor when compared with the original VHS. Firstly it’s a different performance (same festival, different night) and Hicks isn’t having quite as good a show. On top of that, the image quality — bizarrely — is worse than the video. But most annoyingly of all, almost 15 minutes of material has been mysteriously left out. The DVD still represents a great hour of stand-up, but if you can track down an old VHS copy, you’ll have a much better experience.

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7
May 2010

Welcome to now

In what’s being described as “a bid to bring stability to the UK after a general election which has created a regrettable vacuum of power”, the queen has declared herself absolute monarch and summoned the three party leaders to Buckingham Palace, where she earlier arrived by helicopter from Windsor Castle. In a statement released through the queen’s spokesman, she plans to “sit down with the three leaders and knock some heads together”. She also plans to broadcast an emergency statement at 9pm this evening on all British television and radio channels.

Having established the firm support of the army and 50 of the 60 police authorities, with only a handful of authorities — in Scotland, Wales and Northern Ireland — choosing to abstain from a hastily arranged secret poll of Chief Constables carried out by civil servants, it is thought that the leaders of the parties will wait until they hear what the queen has to say before making any statements.

Sources close to Prince Charles, however, appear to be claiming that the Royal Family have little to do with this “Stabilisation Process” and are merely being used as a mask of constitutional legitimacy by senior figures in the civil service, armed forces and intelligence community. “The queen is taking some very bad advice”, one insider is quoted as saying. While another suggested that there may even be an element of coercion involved with threats being made against the lives of several of her family members.

While little remains clear at this moment, one thing does seem certain; The Policy For a New Direction, a document that was rumoured to exist in the weeks leading up to the election, will be part of the agenda at the Buckingham Palace meeting. The existence of this ‘covert manifesto’ was only substantiated early this afternoon when it was leaked from within the Police Force of Northern Ireland. It now appears that the document, which has been couriered to every police authority and armed forces installation today, bears the Royal Seal and carries the signature of the queen along with that of General Sir David Richards (on behalf of the entire General Staff of Her Majesty’s Armed Forces) and the heads of the Metropolitan Police Service, the Serious and Organised Crime Agency, Ministry of Defence Police and British Transport Police, as well as MI5 and MI6.

Leastways, that’s what I dreamt last night. That, and some stuff about a massive asteroid hitting the Atlantic Ocean and being in the West of Ireland and trying to think of ways to escape the approaching tsunami.

Too much election night coverage, I feel.

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7
May 2010

All over bar the shooting

As I write, there are still 9 seats to be declared in the UK elections. The initial exit polls appear to have been roughly correct, but pretty much all previous polls over the past three weeks, as well as all the reflected media coverage appear to have been spectacularly wrong. I picture a good week of media self-analysis… in the media, of course… once the actual political outcome has been settled. How did we get it so wrong? they’ll ask themselves. And sell you their answers at 30p a copy. Or beam it into your home for the price of the licence fee — or more expensive still — a commercial advertisement.

And the thing they got so wrong, of course, was the insistence that it was a three horse race. It wasn’t. It’s not quite over yet, but one thing is very clear, Nick Clegg did not drag his party above the rank of also-ran. He may yet hold the balance of power, but it’ll be by default rather than because they genuinely increased their stature. Even their share of the popular vote has only risen by 1%. Admittedly that was from a pretty decent starting-point in terms of their recent history, but it’s hardly the line the public were being fed from the media. They’re actually down 5 seats at time of writing.

During last night’s election coverage, the likeable Prof Brian Cox showed up on Channel 4 and told the gathered electorate, gazing at our glowing rectangles, that they were “stupid”. We all sat there and laughed, and insisted it was “those other people” he was talking about, not us specifically. Yes indeed. Though let’s face it. If you’re one of the ten and a half million people who voted Tory, then you’re definitely one of the people he’s talking about.

Of course, he was actually being more general than that. Prof Cox was making a point about our collective decision-making and how it seems to have ended up firmly dedicated to self-destruction. Our seemingly cruel lack of self-awareness as a culture and our ten thousand year war against nature… externalising our collective schizophrenia into the wider ecology of mind. OK, so he didn’t use those exact words. I was translating into Batesonian.

Anyhoo, that proved to be the highlight of the election coverage… Prof Cox calling us all stupid.

But enough about the coverage, what about the outcome?

Well, that’s the thing… even with just 9 seats left to declare, we don’t know it yet. It appears that the media may have got that much right — the possibility of a hung parliament / minority government is a very real one. The Tories are going to end up the largest party, but far enough away from an overall majority to make things complicated. Oh, and just what the Welsh were thinking by making it easier on them, I’ll never know.

But of course, the real reason the Tories aren’t as far from an overall majority as was being predicted isn’t the appearance of more spots of blue on the map of Wales. Rather, it’s the failure of the Lib Dem swing to show up on cue. They were supposed to grab a bunch of seats from the Tories. But they didn’t. In fact they actually lost ground to the Tories overall. The opportunity to unseat Oliver Letwin in a real Lib Dem / Tory marginal was squandered. For that, the Lib Dems should publicly apologise. As should the people of Dorset West.

Meanwhile Labour also held their ground against the Lib Dems overall and didn’t lose as many seats to the Tories in the north as was being predicted. Certainly they’ve retained enough to allow Gordon Brown first shot at forming a government, constitutionally speaking. Though whether that’ll happen is anyone’s guess, with the Tories moving to declare victory even though lots of people are saying they have no legal right whatsoever to do so.

That kind of magical thinking can be very effective though. Ten and a half million tory voters all believing in a Conservative victory at the same time is the kind of thing that can manifest such a victory in reality. Especially when you have the Murdoch Press acting as a Great Unholy Sigil. The fact that far more people voted against the Tories than voted for them isn’t necessarily relevant either. If a sense of doubt creeps into them, as it surely must be doing if you’re a Lib Dem after the past three weeks of ecstatic preparation; and perhaps is also happening with many Labour voters who will view the loss of 90 seats and the body language of so many Labour MPs as signalling defeat.

So a minority Conservative government using the Ulster Unionists as additional muscle? The worst of all possible worlds? There’s a part of me that’s sadly unsurprised.

Alternatively we could technically see a rainbow coalition with a Lib-Lab pact recruiting the Scottish and Welsh nationalists, the SDLP and the incoming Green MP as a broad left coalition. Labour can promise the Lib Dems electoral reform in return for their support, but I’m not sure they’d be willing to offer the others what they’d demand.

Which reminds me… congratulations to Caroline Lucas, leader of the Green Party and new MP for Brighton Pavilion. I wish her well; it’ll be good to have a Green voice in parliament even if it’s likely to get drowned out most of the time.

Meanwhile there’s also the other possibility of Clegg bringing the Lib Dems into government with the Tories. The fact that this is even being discussed seriously by the Lib Dems is clear evidence that they are the deluded free-market capitalists that I suggested they might be. All the same, if they wrestle electoral reform out of the Tories in return for their support, they’ll still have been worth your vote. Possibly.

With 9 seats left to declare, the Tories have passed the 300 mark, but only just (302). Labour are on 256 with the Lib Dems at 56. So a Lib-Lab pact would bring them to 312 and clear of the Tories, though short of a majority. And even though Cameron will be trying to cast his “I have moral authority” spell upon the land, a look at the popular vote is revealing. Certainly it demonstrates the kind of distortions wrought by a First Past The Post electoral system.

With 23% of the overall vote, the Lib Dems won less than 9% of the seats (they should have about 148 seats if each vote was treated equally and proportionally). The Tories, on the other hand would drop about 70 seats, if representation was roughly proportional to the votes cast. You can see why they oppose electoral reform.

And even though Labour would also drop roughly the same number of seats, you can see why they wouldn’t be quite as unwilling to consider some kind of electoral reform… it’d be Labour that the Lib Dems would be more likely to deal with if both offered a working majority. And under PR, a Lib-Lab pact would have a clear majority (though not a massive one), while the Tories would have far less claim to ‘moral authority’ with not nearly enough MPs to form a stable minority government.

There’s still plenty of twists and turns to come. But my suspicion is that we’ll see David Cameron in 10 Downing Street by the end of the weeked. I was going to say “it’ll be funny to see how he deals with the economic crisis, resource depletion and climate change”. Except it won’t be funny. It’ll be fucking tragic.

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