{"id":3987,"date":"2015-01-10T08:19:28","date_gmt":"2015-01-10T07:19:28","guid":{"rendered":"http:\/\/www.dickonedwards.com\/diary\/?p=3987"},"modified":"2015-01-10T16:52:16","modified_gmt":"2015-01-10T15:52:16","slug":"a-question-of-misattribution","status":"publish","type":"post","link":"https:\/\/www.dickonedwards.com\/diary\/index.php\/archive\/a-question-of-misattribution\/","title":{"rendered":"A Question Of Misattribution"},"content":{"rendered":"

Saturday 3rd January 2015. <\/em>Current work: revisions to the essay on The Great Gatsby<\/em>. Slow progress.\u00c2\u00a0I break it up with watching the film versions, both on offer in Fopp’s DVD sales. Baz Lurhmann’s version is, for me, preferable to the Robert Redford one, if only\u00c2\u00a0because it manages to represent the moment\u00c2\u00a0where Gatsby enters the text\u00c2\u00a0as an unknown party guest, without Nick (and the reader) realising who’s speaking. Typically, Luhrmann turns it from a subtle, anticlimactic moment\u00c2\u00a0into an over-the-top dramatic entrance, but I\u00c2\u00a0rather\u00c2\u00a0like that. We glimpse diCaprio’s\u00c2\u00a0hands and chin amongst the party mayhem before he turns to the camera to say – as Gershwin’s Rhapsody In Blue <\/em>skids to a\u00c2\u00a0cartoonish stop\u00c2\u00a0-‘I’m Gatsby’. Cue fireworks. The Redford version just has Gatsby summoning Nick to his room.<\/p>\n

* * *<\/p>\n

Archway Video library, where I worked in the mid-2000s, is now a nail bar.<\/p>\n

* * *<\/p>\n

Sunday 4th January 2015. <\/em>Procrastination today: reading The Observer<\/em>. Large interview with Stewart Lee. It’s one where they get readers to send in questions, then top them up with ‘celebrity fan’ questions too. I always wonder what this format is meant to signify: a shoring-up of the impermeable spheres of fame and non-fame? I used to be unnerved by those ‘Evening With’ TV shows where the camera would cut to a famous face in the audience. How is the viewer meant to react to this? Be grateful? Know your place as a non-celebrity?<\/p>\n

As it is, SL discusses his own particular strange kind of celebrity \u2013 much loved by liberal broadsheet readers, barely heard of by others. He is convinced that sometimes those who do recognise him aren’t even sure who he is: he’s signed autographs as ‘Richard Herring’, and they’ve not noticed. The Observer <\/em>sub-editors then insert brackets to explain who Richard Herring is (‘Lee’s former comedy partner’).<\/p>\n

I think of the time in the mid 1990s I was recognised in Virgin Megastore by a cashier, and asked to give my autograph on a till receipt. The cold, shrugging atmosphere of this encounter left me in no doubt that the staffer wasn’t interested in my band in the slightest. He just recognised me from the music papers and felt he had to do something. Hence the half-hearted autograph. Now people demand a photo (Or, I imagine they do…).<\/p>\n

* * *<\/p>\n

Tuesday 6th January 2015.<\/em> Evening: first class of the new term \u2013 the last ever full term, in fact. Tonight’s text: The Autobiography of Malcolm X<\/em>. Tutor: Anna Hartnell. It’s the sort of book I’d never usually read. Which is one of the reasons why I did the course in the first place. Malcolm X turns out to be far more complicated than I’d imagined: he changes his mind about aspects of separatism after <\/em>he becomes well-known, which is something the great speakers of history are not usually thought to do. This makes him both frustrating and endearing. There’s a line towards the end of his book where he regrets never having gone to university. It makes his work a perfect set text for adult education.<\/p>\n

* * *<\/p>\n

I hand in the Gatsby <\/em>essay after five drafts. Glad to see the back of it.<\/p>\n

* * *<\/p>\n

Wednesday 7th January 2015. <\/em>Shocking events in Paris: a team of terrorists murder cartoonists of Charlie Hebdo <\/em>magazine. All I can think of by way of a first response is that I’m glad London has a whole museum dedicated to the important tradition of cartoon art. (http:\/\/www.cartoonmuseum.org\/)<\/p>\n

* **<\/p>\n

Evening: lecture on 1960s cultural changes by Professor Luckhurst. Then to the Camden Odeon with Shanthi S, to see Birdman. <\/em>Before the film we have a drink in The Good Mixer nearby. It must be at least ten years since I was last there. In the mid 90s it was something of a well-known hang-out for the Britpop crowd. Today it’s refreshingly ungentrified \u2013 slightly rougher, if anything. All that’s different is a number of paintings on the wall of Amy Winehouse, Morrissey, Graham from Blur and so on. A little heritage, but not too much.<\/p>\n

Birdman <\/em>turns out to be fantastic. I’ve always liked films in which actors play actors, but I didn’t realise it was going to be shot in long single takes too, a la Rope <\/em>(my favourite Hitchcock). The camera swoops around a Broadway theatre, backstage, onstage, the wings, and occasionally outside to the bar next door. Very witty script; Edward Norton as a pretentious stage-only actor is superb. Particularly love the scene where he’s revealed in his dressing room, lying in a full size suntan machine while reading Borges’s Labyrinths. <\/em>When the lights go up I’m a little unsteady on my feet, such is the effect of the constant bird-like camerawork.<\/p>\n

* * *<\/p>\n

Thursday 8th January 2015.\u00c2\u00a0<\/em>Much debate about free speech, in the wake of the Paris attacks. That Voltaire quote gets dragged out once again, though there’s no proof he said it: ‘I disapprove of what you say, but I will defend to the death your right to say it’. It’s one of those quotes that sound powerful in the quoting, but which haven’t quite been thought through. To disapprove of something means you must believe in something you do <\/em>approve of; in which case you’re probably going to want to give your life to that <\/em>first, as a matter of priority. And there’s just not enough hours in the day to defend everything <\/em>you disagree with. How would that work?<\/p>\n

Lots of cartoons involving pencils doing the rounds today, one of which is attributed to Banksy \u2013 wrongly as it turns out. I put a joke on Twitter which does a double reference:<\/p>\n

‘I disapprove of what you say, but I will defend to the death your right to attribute it to someone more famous’ \u2013 Banksy<\/p>\n

* * *<\/p>\n

Friday 9th January 2015. <\/em>I visit the new Blackwells bookshop at No. 50 High Holborn. It’s meant to replace the one in Charing Cross Road that closed down due to the Crossrail development. Though in the new place the builders are still doing\u00c2\u00a0noisy things up ladders, and the lower floor is not yet open. Otherwise, it’s airy and pleasant and a nice place to browse. I wish it well, and buy a set text to show my support (Roth’s Plot Against America<\/em>).<\/p>\n

Evening: I bump into Anne Pigalle in St Pancras \u2013 London’s Most French Woman. She’s off to the French Institute for an event about the Paris attacks. She also tells me how important Charlie Hebdo is to France; I have to admit I wasn’t much\u00c2\u00a0aware of it before this week.<\/p>\n

To the Black Cap in Camden for a farewell-to-London party for Martin Wallace. MW is moving to Oxford to do a PHD, having done so well at Birkbeck. Erol Alkan is there, which is fitting because I first met MW at one of Erol’s club nights. This would be around 1995. Erol is sweet as ever. He recommends a synthy band he’s just released on his label – Ghost Culture. Also chat to Pete Gofton, once of Kenickie, now in academia and <\/em>music. Once again I have to explain why I’m not making music myself \u2013 no urge to is the honest answer.<\/p>\n

At home: read a piece by Will Self on the attacks which misattributes the ‘afflict the comfortable’ quote about satire to HL Mencken. It’s actually by Finley Peter Dunne. I suppose this all proves that free speech is, as Mr Self argues, not an uncomplicated practice. Not only must there be a level of responsibility, but some messages are always going to be louder than others. And some names\u00c2\u00a0are louder than others too, like Banksy and Voltaire and Mencken and indeed Will Self.<\/p>\n

A good rule re quotations: if it’s attached to a well-known name but comes without\u00c2\u00a0a proper citation from their work, they probably didn’t say it.<\/p>\n

Later: I watch a fascinating TV interview with Frances de la Tour. Such a varied career. She’s convinced, however, that when she dies, the obituary headlines will still refer to her as Miss Jones in the 1970s sitcom Rising Damp<\/em>, thus ignoring her many other accomplishments in film, TV and theatre. I wonder (grimly) if this will indeed be this case, or if many outlets are more likely to do what they did when Richard Griffiths died, ie focus on her small role in the Harry Potter<\/em> films. Potter <\/em>conquers all.<\/p>\n","protected":false},"excerpt":{"rendered":"

Saturday 3rd January 2015. Current work: revisions to the essay on The Great Gatsby. Slow progress.\u00c2\u00a0I break it up with watching the film versions, both on offer in Fopp’s DVD sales. Baz Lurhmann’s version is, for me, preferable to the Robert Redford one, if only\u00c2\u00a0because it manages to represent the moment\u00c2\u00a0where Gatsby enters the text\u00c2\u00a0as […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[938,350,934,935,932,933,727,838,420,936,937],"class_list":["post-3987","post","type-post","status-publish","format-standard","hentry","category-uncategorized","tag-birdman","tag-birkbeck","tag-black-cap","tag-blackwells","tag-frances-de-la-tour","tag-je-suis-charlie-hebdo","tag-martin-wallace","tag-shanthi-s","tag-stewart-lee","tag-voltaire","tag-will-self"],"_links":{"self":[{"href":"https:\/\/www.dickonedwards.com\/diary\/index.php\/wp-json\/wp\/v2\/posts\/3987","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.dickonedwards.com\/diary\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.dickonedwards.com\/diary\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.dickonedwards.com\/diary\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.dickonedwards.com\/diary\/index.php\/wp-json\/wp\/v2\/comments?post=3987"}],"version-history":[{"count":10,"href":"https:\/\/www.dickonedwards.com\/diary\/index.php\/wp-json\/wp\/v2\/posts\/3987\/revisions"}],"predecessor-version":[{"id":3997,"href":"https:\/\/www.dickonedwards.com\/diary\/index.php\/wp-json\/wp\/v2\/posts\/3987\/revisions\/3997"}],"wp:attachment":[{"href":"https:\/\/www.dickonedwards.com\/diary\/index.php\/wp-json\/wp\/v2\/media?parent=3987"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.dickonedwards.com\/diary\/index.php\/wp-json\/wp\/v2\/categories?post=3987"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.dickonedwards.com\/diary\/index.php\/wp-json\/wp\/v2\/tags?post=3987"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}