Saturday 18th April 2026
Blog Page 1691

The truth about e-book ownership

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When you go on Amazon (as you invariably would), select an e-book and click ‘buy’, you may think that this is just what you’re doing. However, consumers are coming increasingly to acknowledge that, as far as much of their digital media library is concerned, their costly purchases are rather mere rentals, and their ownership rights extend little beyond those of a tenant farmer over his land.

Last month Amazon blocked a Kindle account belonging to Norwegian Linn Jordet Nygaard, preventing her access to a collection of almost fifty electronic texts. Only after a public outcry was an embarrassed Amazon forced to reinstate her account, though they’ve yet to comment on the case. Now this may be because their position is indefensible. More likely though it is because they know that they didn’t put a foot wrong legally – their position is one of unsettling power, the full extent of which they would rather have their public oblivious to. Unbeknownst to many, the purchase of an e-book is actually in many cases only the purchase of a licence to read, a licence that can be revoked without notice subject to the legal scraps lodged in the thicket of terms and conditions that, obviously, no one ever reads.

Proprietary software often ties the e-book to a particular device or reader. Readers are also physically prevented from transferring content to friends and immediate family, or between devices, by encryption software called Digital Rights Management, devised to protect a creator’s copyright from piracy and prevent buyers from on-selling the digital file for profit. This ringfencing makes it all the more simple for distributors to destroy the entire edition of a particular text, to deprive customers of the content they have paid for. Not that this is offensively frequent an occurrence – the Nygaard case demonstrates how detrimental these circumstances can be for a distributor’s reputation – but it is by no means unheard of either. In July 2009, Amazon was forced to efface copies of two of George Orwell’s cult novels – ‘1984’ and ‘Animal Farm’ – from hundreds of e-readers after it emerged that the books were added to the Kindle store by a company without appropriate rights to them. And that was that. The Lord giveth, and the Lord taketh away.

For some, the removal of the e-book from their device also entailed the deletion of annotations, bookmarks and critical notes. The main reason it irked however was in its dose of sobering reality – much of the digital content we consider to be our own is in fact far from it.

The often aggressive behaviour of e-book providers however surprises me. It’s odd that in a market which will thrive or flounder on the strength of its winning over of sceptical bibliophiles – those with allegiances to books as palpable, bendable, vulnerable things – publishers and distributors aren’t doing everything in their power to promote the tangibility of digital texts. Lack of transparency and leniency as regards Digital Rights Management is making digital media seem disastrously will-o’-the-wisp. 

Children of the Liverpool Revolution

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Their introductions were earlier than expected. Their task, a simple one: to become the cream of Merseyside. Their names may not roll off the tongue as instinctively as the likes of Carragher, Gerrard and Owen, but for Liverpool fans it’s very much watch this space.

 

Andre Wisdom

An imposing defender, who can play in the centre or right-back position as well as the defensive midfield role, the 19-year-old is tactically astute, technically proficient with the ball, strong in the air and a willing tackler. Poached from Bradford City at the age of 14, the Yorkshire-born youngster captained the England U17s to victory in the 2010 UEFA European U-17 Football Championships. He made his Liverpool debut in the 5-3 victory away to Young Boys in the Europa League Group Stages, scoring two goals in the process.

 

Jack Robinson

The left-back became the club’s second-youngest player (16 years and 250 days) to don the famous red jersey when he made a cameo appearance under Rafael Benítez in the Barclays Premier League fixture against Hull City in the final game of the 2009-2010 season. His first-team chances have since been limited, as he continues to play second fiddle to current first-team left-back, José Enrique. Nonetheless, his two appearances in the Europa League Group Stages, most notably in Liverpool’s 3-2 defeat at the hands of Udinese, have drawn praise.

 

Jonjo Shelvey

Loaned out to Blackpool for part of last season, the 20-year-old made an instant impact, scoring 6 goals in 10 ten games. He’ll have to wait a while longer to establish himself as a regular first-team starter as Joe Allen, Steven Gerrard and Real Madrid loanee Nuri Åžahin look to build on their promising midfield partnership. Shelvey has excellent vision and awareness on the ball however his naivety has shown, notably receiving a red card for his two-footed lunge on Jonny Evans against Manchester United earlier this season.

 

Raheem Sterling

English football’s new bright hope? The 17-year-old winger has grabbed all the back page headlines this season with a string of eye-catching performances. Lightning quick, tricky with his feet and with a natural eye for goal, the Jamaican-born teenager, signed from Queens Park Rangers in February 2010 for £500,000, is the most exciting prospect to come out of Anfield in the last few years. Rave reviews earned him a somewhat premature call-up to the England first-team squad for their 2014 World Cup Qualifying match against Ukraine in September.

 

Suso

Or Jesús Joaquín Fernández Sáez de la Torre, to go by his full name. The Cádiz-born midfielder, who rejected the overtures of Barcelona and Real Madrid before signing for The Reads in 2009, made his name in the 2011-2012 NextGen series, scoring 5 goals in 17 appearances. The 18-year-old impressed again for Spain in this year’s UEFA U-19 European Championships and during the club’s pre-season tour of the USA and Canada. His consistent threat and assist-laden performances on the right-wing have seen him start Liverpool’s last three competitive games.

 

Adam Morgan

Big things are expected of the Merseyside-born striker who has already been compared to former Kop legend Robbie Fowler, whom he ‘hero worshipped’ from an early age. The prolific 6 ft  12 in left-footed attacker finished top of the goalscoring charts for the U-18s during the 2010-2011 season with 21 goals to his name. With a natural predatory-like goalscoring instinct and with the first-team currently enduring a shortage in the striking department, Morgan may yet get a chance to display his credentials on the big stage this season.

 

Samed YeÅŸil

The striker’s surprise summer move from Bayer Leverkusen this summer may have gone under the radar but Liverpool have undoubtedly acquired one of the brightest talents in German football. A skilled, two-footed striker who can also play on the wings, the 18-year-old Turkish-German scored 57 goals in 71 games for Bayer’s youth teams in the last two seasons. Whilst initially he may lack the necessary physical strength and technique needed for a player in his position in the Barclays Premier League, YeÅŸil still has time on his side.

 

Twitter: @aleksklosok

Where are they now: Hugh Grant

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He’s known for his per­petual role as bumbling English gent who “uhms” and “erms” every other line. He’s been in People magazine’s ‘Sexiest Men Alive’, alongside the likes of John­ny Depp and Justin Timberlake, but unlike Captain Jack and the self-proclaimed Prince of Pop, Mr Grant was one of us.

During his stint at New Col­lege, Bridget Jones’s antagonist once had his heart set on becom­ing an art historian. But after spending his nights drinking and debauching with the Bull­ingdon-esque Piers Gaveston Society, he failed to achieve the first class degree demanded of the Courtauld Institute, and fell back on acting.

He got his start in Oxford dra­ma in the half-dozen line role of Fabian in a production of Twelfth Night. The pinnacle of his stu­dent drama days was Privileged, his big screen debut on the topic of the bed hopping of Oxford stu­dents (stick to what you know, eh?) which managed to get him spotted by a talent scout. Hughie was a fighter, and overcame the usual setbacks experienced by any emerging student ac­tor – tiresome rehearsals, script fumblings, the ramen soup diet etc. But no hurdle was as monu­mental or as celestial as his role in Hamlet, which was performed entirely in velour Star Trek cos­tumes, with flashy delta logo to match. We’re not sure Mr Spock would approve.

Review: The Government Inspector

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The Government Inspector prom­ises a lot. It is both a withering critique of political corruption and a farce turning about gloriously caricatured officials. It has both dark semi-surreal elements and implicit appeals for social change. It wishes to entertain and stimulate thought. I was certainly well entertained – it was funny, though the slap-stick tended to dominate, leaving the unsettling satire a little neglected. Nabakov described the play as the “tense gap between the flash and the crash” that begin and end it. The opening freeze-frame, where each character animates one after the other, was admittedly striking, but the tension in the central section of the play came too slowly.

Let me quickly give those unfa­miliar with Gogol (and I was among you before yesterday), the drift of the play. A government inspector is due to arrive any moment to a little town in the mid­dle of nowhere, which is at the mercy of a host of political cronies, feeding off the poorest and leaving them­selves corrupted. Chaos ensues with much bribing, tricking and seduc­ing of the “inspector”, a revelation occurs, (I won’t spoil it for you) and we’re left wondering if justice will be exercised.

The acting in two words: generally good. As a pantomime-like mélange of vivid characters, the officials, played by Richard Gledhill, Angela Myers and friends, were amusing, complemented well by Tweedle- Dum-and-Tweedle-Dee-esque double act Dobchinsky and Bobchinsky. I say pantomime but I’m not sure if that’s exactly what Gogol was en­visaging, but let’s go with it. On the other hand, Joe O’Connor as the “in­spector” did a good job of changing the dynamic between the officials, with an often nuanced perfor­mance.

Just a few words on the overall aesthetic. The costumes were beau­tifully period and extravagant, re­inforcing the impression of excess. Moderate, but well-judged use of music, sound and stage effects (e.g. a whirling of manuscripts from above when the inspector has a bout of madness, all with psychedelic lights) added to the impact, already strong owing to the intimate performance space.

Despite being one hundred and eighty years old, the play strikes you with its topicality – corruption and scandals abound. If you’re looking for a close examination of these is­sues, the play probably won’t offer you too much. If you’re idea of a good night out, however, this was definite­ly to be recommended. 

THREE STARS

Preview: Bloody Poetry

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The beginning of Michaelmas 2012 has been marked by dull skies and seemingly unending drizzle. So quite an evening is to be had watching Bloody Poetry, a play which brings the audience across the Alps and the centuries to Geneva, 1816, conjuring up both the tran­quil shores of Lake Geneva and the heights of violently Gothic storms.

The play centres around four main characters who carry the majority of the action, making for a highly personal, character-driven play, and three of them are among the most famous names in English literature: Lord Byron, Percy Bysshe Shelley, Mary Shelley, and Claire Clairmont, Mary’s stepsister. Following an inces­tuous summer that the four spend in Geneva, the play naturally swings between intimate expressions of emotion and declaimed contempla­tions of the nature of poetry.

In spanning both huge questions and intimate relationships, Bloody Poetry greatly depends upon the chemistry of the main actors; fortu­nately, each of the cast members in this production turn in solid per­formances. Arty Bolour Froushan is appropriately strident and seductive as Byron, and Claudia King brings depth to what could have been any lovestruck teenager in her Claire, hopelessly besotted with Byron. Amelia Sparling and Tim Schneider are both good as the Shelleys, filling out a foursome that really stands out in the chemistry they all share. Char­acters move about constantly, as if trying to run through all their possi­ble permutations – movement which could seem arbitrary and distract­ing, but which comes off as natural, ultimately selling the hedonistic developments between the four of them all the more convincingly.

Jack Sain is also to be commended as Dr Polidori, Byron’s physician and diarist, measuring the wanton im­propriety of the others through his own repression. His entrance, stand­ing stiffly upright over Claire and the Shelleys entwined on the floor, is a particularly nice moment, as is the scene in which the four torment him while acting out Plato’s cave. In both cases, as throughout the portion of the play I saw, the blocking creates and emphasises focal points, the foursome paired up variously, all fac­ing one direction.

These movements are swift and unforced, creating a nice sense of movement within the play, match­ing the dialogue’s intellectual crack­le. I do wonder whether this leads to a sacrifice of dynamics: surely, in a play where the nature of art and love are under discussion, more could be made of moments of silence, if only to allow the audience to catch up? However, since I only saw rather mo­mentous scenes, this could just be the peril of the preview. Ultimately, this production seems intriguing, and well worth a view.

 

FOUR STARS

Review: Taylor Swift – Red

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Taylor Swift follows in the footsteps of the inimitable E. L. James in attempt to guide today’s consumers through their colour wheel. Like Fifty Shades, Red has mass appeal, will sell millions of copies, and possibly drags on a bit towards the second half. Where it differs (apart from the thinly veiled Republican nod), is that it does what it sets out to do in a really rather good way. 

This album is almost all Swift who trips recognisably into the songwriting room from adolescence’s lonely enclave. Where it is bigger and better than her previous offerings, however, is when she invites others into this room. Red makes for more than the country-lite of her previous releases, though there is plenty of that. It is a rare and excellent female pop album with a winning combination of power ballads, songs for girls to cry to, and tracks for drunk people to flop around to. This is what Swift has set out to do, and – intentionalism be damned – she should be proud of the product.
Red is the kind of album that millions of schoolgirls will get ready to in the mornings: this is the evolution of Avril Lavigne’s Let Go with more than a dash of Shania Twain’s Up!. There’s little here which is recognisably 2012 (ignoring the slightly snarky comments about indie records and ‘dressing up like hipsters’, which is clearly a bit of a bee in Taylor‘s salubrious bonnet). The dubstep influence that permeates floorfiller ‘I Knew You Were Trouble’ may be a little questionable, but at least guarantees it a place on Park End’s ground floor playlist for some time to come. And ‘We Are Never Getting Back Together’ is, despite all my better judgment, simply superb.
Few surprises here, but an elegantly slick album which shows young Ms. Swift going from strength to strength. Pity about the Republican National Conference performance, though. 
FOUR STARS

 

Review: Gathering @ Oxford venues

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To those familiar with more traditionally laid out festivals, Gathering may have seemed like it had been over-ambitiously named. Surely a few sets at a few venues in Cowley on a rainy winter’s evening couldn’t live up to the name of ‘festival’?

After a brief foray into the early bands, most headed for the O2 queue. Once the doors were opened Clock Opera took to the stage, the night instantly had an air of magic about it.

Their spell-binding performance was followed by a set from Bastille which was exactly as cleverly put together as you’d expect from a band whose EP, Bad Blood, is an interactive murder mystery. Dan Smith has always been a reluctant frontman, and he was visibly (and adorably) still finding his success difficult to believe.

Great as the two previous acts had been, the main event was still to come. As Dry The River took to the stage, the roar that filled the O2’s main room easily topped the noise made at the band’s set in Reading’s NME tent two months previously. If there had been any doubt, it had now been banished. This was a festival, filled with the party atmosphere and furious enjoyment that there had never been a better night in the history of fun.

Though Peter Liddle cut something of a tragic figure as he attempted to sing ‘Demons’ three feet from the microphone while Scott Miller, the heavily-bearded, unofficial face of the band, silently begged the crowd, in vain, to be quiet, the band were soon feeding off the incredible energy of the crowd.

Finally, they produced the moment of the festival as they pulled out their party trick, making their way into the crowd to perform ‘Shaker Hymns’ acoustically. The audience immediately around the band stood in hushed awe as Liddle’s haunting voice cut through the air, with no microphone or amplifiers in the way. We were definitely experiencing live music at its very best.

But disappointment came in an organisational form, as anyone who was near the front of Dry The River was turned away from a full O2 Academy 2, where for reasons known only to the organisers, Spector had been placed while the venue’s weekly indie club night, Propaganda was given priority in the main room.

Yet the many depressed Spector fans wandering through the streets found solace in an almost unbearably cute set from Lucy Rose at the Community Centre, followed by Peace, who catered well to the drunken state of a 1am audience. The evening ended as the audience joined the rest of the revels at Propaganda, and danced the night away like it was still festival season after all.

Shrewdbacca: George Lucas sells Star Wars franchise

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In 1988 filmmakers, preservationists and businessmen went to Congress over legislation responding to a pressing concern amongst interest groups in the film industry. Flouting the Berne Convention for Moral Rights – which would prevent alteration of a cinematographic work by those looking to profit from its reinterpretation – renowned filmmakers such as Jimmy Stewart, Steven Spielberg and George Lucas testified on the importance of preserving a national ”cultural heritage”. Lucas said: ”People who alter or destroy works of art and our cultural heritage for profit or as an exercise of power are barbarians, and if the laws of the United States continue to condone this behaviour, history will surely classify us as a barbaric society…A copyright is held in trust by its owner until it ultimately reverts to public domain. American works of art belong to the American public; they are part of our cultural history.”

By 1996 his attitude seems to have changed. Lucas began working on the first of many repackagings of the Star Wars films – in 2004 and 2006 for DVD, and in 2011 for a horrifically expensive Blu-ray remaster. In the 1980s, Lucas batted against the colorization and other manipulations of classic films in the name of ”cultural heritage”; more recently, he has exploited every innovation in the special effects portfolio to tweak the udder of his wrinkled old cash cow.

Now, it’s not as if I see this as a desecration of a set of sacred artefacts – I don’t care about Star Wars. But hypocrisy riles me. Lucas, despite being one of Hollywood’s wealthiest and most business-minded filmmakers, is also one of its most outspoken critics.

He began his filmmaking career at the University of Southern Carolina, putting together edgy and artisanal anticapitalist political documentaries and “tonal poems”, structured around a piece of music or found sounds: ”1:42:08” centres on the noise of a Lotus in top gear. His filmmaking outpost, Skywalker Ranch, is located in Nicasio, California, rather than Hollywood – Lucas’s attempt to range his operation against the Hollywood moviemaking machine he has repeatedly condemned. Lucas says in the 2004 documentary “Empire of Dreams”, in one of countless interviews saturated with complaints against the commercialisation of cinema, that he is ”not happy that corporations have taken over the film industry.”

But, like the young and idealistic Anakin Skywalker, Lucas seems to have lost his way, growing into the leader of an evil empire: ”What I was trying to do was stay independent so that I could make the movies I wanted to make,” said Lucas in 2004. “But now I’ve found myself being the head of a corporation…I have become the very thing that I was trying to avoid.”

Star Wars was the first modern blockbuster. Its simple structure and morality – the battle of good and evil, light and dark, rebellion and empire – bolstered by expensive and foregrounded special effects and emphasis on action sequences, has served as the blueprint for much popular cinema. Most of all, it was the first film which was written to create a universe of possibility for merchandising. Though today a time before major releases necessarily corresponded with imperious marketing and PR campaigns may seem quaint and strange, the commoditisation of a film franchise was indeed relatively new in 1977. The films have spawned countless innovations in toys and games, and earned Lucas Films billions from clothing, collectables and convention culture. The franchise has, according to Bloomberg, garnered Lucas Films $4.54bn in ticket sales; merchandising has brought in more than $13.5bn.

Not that there’s anything necessarily wrong with this – if parents want buy their brats overpriced replica lightsabers to beat their friends over the heads with rather than bits of old wood, that’s their prerogative. If 40 year-old virgins want to fill their garages full of taxidermised Wookies and rows of plastic action figures, good for them. But there’s a hypocrisy in Lucas’s self-cultivated outsider stance which, in the light of this corporate sovereignty, strikes me as unmerited and pretentious.

This week, Lucasfilm, which is 100% owned by the director, was sold for $4.05bn dollars to Disney, with a view to the creation of more Star Wars flicks. Some critics have suggested Lucas has sold out. My point is that he sold out long ago. And it is unsurprising that the rhetoric of ‘cultural heritage’ has been wheeled out again in the context of this new move: “For the past 35 years, one of my greatest pleasures has been to see Star Wars passed from one generation to the next,” Lucas has said. “I’ve always believed that Star Wars could live beyond me, and I thought it was important to set up the transition during my lifetime.”

But perhaps more than the money, experts say Lucas was also taking steps to ensure the future of his vision and ideas. Disney says it will produce ‘Star Wars Episode 7” for release in theatres worldwide in 2015, and will release more films every two to three years, projects which Lucas will join as a ‘creative consultant’. “I felt like I wanted to put the company somewhere in a larger entity that would protect it,” Lucas told reporters this week. “We could go on making Star Wars for the next 100 years.” This explains why Lucas has done this now – he wants to ensure that his legacy is not distorted by its inheritors while he still can. So much for ”cultural heritage”.

But there’s another rationale behind Lucas’s timing. Long-term capital gains tax from the sale of assets held for more than one year are currently taxed at a rate of 15% for investors in the 25% income-tax bracket or above, the level in which Lucas lies, and at 0% for investors in the 10% or 15% bracket. In January 2013, those rates are due to increase to 20% and 10% respectively. Lucas, surrounding himself with the finest legal advisors in the country, has designed the sale to take advantage of the lower rates on long-term capital gain while they are certain to exist. What we’re talking about here is not merely an example of financial savvy, but actually a form of legal tax evasion. The same kind of tax evasion that has earned a number of figures, including Eduardo Saverin, one of the founding partners of Facebook, public condemnation, media derision and government criticism in recent months. I doubt though that the billionaire director’s manipulations will undergo the same kind of scrutiny.

In any case, we can see that Lucas is not the devout anticapitalist he claims to be.    

Interview: Robin Hanbury-Tenison

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“That’s Chico,” he says airily, gesturing at what looks like a dead parrot on top of the wardrobe. “Picked him up in the Amazon. Spent 15 years in my deep-freeze. Rather tatty really.”
I’m standing, slightly bemused, in the rural Cornwall home of Robin Hanbury-Tenison, the remarkable man celebrated as our greatest living explorer. In a nearby cabinet, there’s an elegantly carved ostrich egg (“my only water-carrier when crossing the Kalahari with bushmen”), and hovering mysteriously over the mantlepiece there’s a gaudy headdress from Borneo that apparently has something sinister to do with head-hunting. The living room seethes with the slightly improbable.
On leaving Oxford in 1957, he promptly undertook the first overland crossing to Sri Lanka (interrupted, admittedly, by a brief desert abduction by Afghan horsemen). Within a few short years, he had become the first to travel the full length of South America by river, ride the Great Wall of China, cross South America at its greatest width, and – faintly surprisingly – hovercraft his way over the Orinoco. He was the first to climb the forbidding Mount Roraima single-handedly, and that was something of an impromptu accident. And he has the most evocative ringbinders I’ve ever seen, if that’s a thing – “Siberut 1972”, “Africa 1969”, “Sulawesi 1974”, and on through the world. 
As he carefully pours the tea and gestures warmly towards a fruit cake, it is – for a fleeting moment – hard to imagine this affable man rafting alone through the wilds of Brazil or sleeping rough under a Saharan night-sky. At one point, he impersonates a tropical spider with a chocolate brownie. But as he recounts each extraordinary episode (smuggling himself over borders under moonlight, becoming a godfather to a Penan child in Sarawak, debating with island chieftains dozens of miles off Sumatra), it becomes clear that it’s the human encounters that really grip him. He has an extremely acute social conscience. This is a man who, when meeting the legendary activist Claudio Villas Boas deep in the Brazilian interior, was hailed as the “first sign” of a visionary new enlightenment. Villas Boas may well have been right: Hanbury-Tenison co-founded the world’s first charity for indigenous groups, Survival International, the self-described “movement for tribal peoples”, 43 years ago. And he hasn’t paused for breath since.
“Explorers,” he remarks dryly, with his hands clasped as through reciting a confessional, “are very selfish people.” This seems like unnecessary self-flagellation, but he continues: “It’s riven with clichés, but we’re all into finding the last blue mountain and all that. We want a bit of supremacy. And why? Because we’re inadequate in some way. It’s no coincidence that many explorers had powerful fathers and domineering mothers.”  
It was during his childhood, spent in rural Ireland, that the first hints of this remarkable character began to show. I ask rather bluntly how he can bear the loneliness of exploring. The reply is quick and succinctly logical. “I’ve always been good at coping,” he says. “From the age of seven, I’d happily sleep alone in a treehouse on the island in the middle of the lake. Not many children get to do that.” I put it to him that not many children want to do that. “Yeah,” He ponders momentarily. “Then I don’t know what it was. Maybe having a sibling in the war?” There’s a pause. “I was able to endure solitude,” he declares eventually.
As a child, did he dream of travel? “Yes, always. It’s just born in you, I suppose. I was – and am – eclectic.” When I ask which historical explorer he feels most affinity to, he answers instantly: Humboldt, the great Prussian scientist. “He was brilliant – the last of the great Renaissance men exploring.” He smiles modestly. “But really I’m not at all a Humboldt. I’m just lucky enough to have been there. I just get things done and change things.”
Hanbury-Tenison loves science – or, at least, scientists, insisting, “I’ve learnt the art of provoking scientists into speaking like human beings.” Sounding guiltily romantic, he muses, “There’s a genus of butterfly called Idea. It looks a bit like a lace handkerchief. I used to enjoy watching lepidopterists pursue an Idea through the forest.” He grins warmly. “That really sums it up for me.” 
But his memories are as poignant as they are poetic. He recalls accompanying a military expedition through Panama in 1972, on the way seeking out the defiant Cuna Indians on the mysterious Darien Gap. There, under the astonished eyes of a tribal congress, he endured the grotesque experience of having to explain that their ancestral lands were shortly to be inundated by a vast government dam. “There are huge forces opposed to people and terrible things happening all over the world,” he proclaims, with a defiance that catches me off-guard. “If you’re looking for a cause to support, there’s none greater than tribal peoples.”
Three years earlier, he had been dispatched to survey and encourage the ailing indigenous populations in Brazil, after a British journalist published a gruesome exposé of the abduction, intimidation, and ethnic cleansing of thousands of tribespeople. He has dark memories of an almost cinematic encounter with a high-level apparatchik in this shadowy realm of the Brazilian government. “I mean he wasn’t Germanic, but the man sounded like Hitler,” he grimaces. “He basically tethered me to a spy. Mr Romalio, Jr. A dreadful man.” He whispers in a mock-conspiratorial tone. “Our mission was to get round behind him and charm people.”
His work has of course not won everyone round, but that is perhaps unavoidable. There’s a perilously slim line between protection and paternalism. Critics call for an organised programme to integrate marginal groups into the modern, global village. By this stage in our conversation I was a convert, but I muster a sceptical tone so Cherwell’s worldly readers don’t think me totally besotted. Mightn’t he be denying opportunities for tribal peoples by promoting their isolation? What if a hundred Newtons or Einsteins have been confined to some neglected tropical forest? The veteran explorer frowns severely. “No, no, no,” he stutters in staccato. “Now you’re being ethnocentric. Deeply racist. Victorian.” 
The problem with integration, he explains, is the inevitable loss of dignity on the part of indigenous peoples. “It is important to have a strong culture. Everyone needs a culture against which to fight.” He views societies and their traditions as distinct and accountable only on their own terms. Tragically, his best friend was killed in a surprise attack by tribespeople in the Brazilian rainforest, but he thinks blaming the attackers is unthinkable, even nonsensical. You can’t cross-pollinate values and principles without degrading something: “Teaching property rights is not a good plan. Anyway, there’s something wrong with us,” he ventures, rather boldly. “We don’t have culture.”
How does he feel about being labelled “the greatest explorer of the past 20 years”? He laughs, disarmingly. “I don’t actually believe my own propaganda, but somebody had to put it forward. So I say, I know it’s tough, but I’ll take the glory.”
He takes it discreetly; he is astonishingly modest. I look back at stuffed Chico, who is still (unsurprisingly) surveying the living room aloofly. The great explorer is, by now, settling down on the sofa with the TV schedule, but I can’t resist asking “where next?” Is he tempted to track down the remaining uncontacted groups scattered across the Amazon? He closes his eyes serenely. “One longs to go down and say hi. But, of course, they’d kill you.” A wry smile flashes across his face, and he grins suddenly. “To which I say: very properly.”

“That?” he says airily, gesturing at what looks like a dead parrot on top of the wardrobe. “That’s Chico. Picked him up in the Amazon. Spent fifteen years in my deep-freeze. Rather tatty really.”

I’m standing, slightly bemused, in the rural, Cornish home of Robin Hanbury-Tenison – the remarkable man celebrated as our greatest living explorer. In a nearby cabinet, there’s an elegantly carved ostrich egg (“my only water-carrier when crossing the Kalahari with bushmen”), and hovering mysteriously over the mantlepiece there’s a gaudy headdress from Borneo that apparently has something sinister to do with head-hunting. The living room seethes with the slightly improbable.

The world is made of two sorts of people: couch potatoes and Robin Hanbury-Tenison. Keeping up with his myriad exploits is like interviewing Indiana Jones squared. “I could leave a good party at five o’clock and be on a camel by nightfall,” he laughs, without a hint of irony.

On leaving Oxford in 1957, he promptly undertook the first overland crossing to Sri Lanka (interrupted, admittedly, by a brief desert abduction by Afghan horsemen). Within a few short years, he had become the first to travel the full length of South America by river, ride the Great Wall of China, cross South America at its greatest width, and – faintly surprisingly – hovercraft his way over the Orinoco. He was the first to climb the forbidding Mount Roraima single-handedly, and that was even something of an impromptu accident. And (bear with me) he has the most evocative ringbinders I’ve ever seen, if that’s a thing – “Siberut 1972”, “Africa 1969”, “Sulawesi 1974”, and on through the world. He’s now in his seventies, and the globetrotting folders are still spreading from wall to wall.

As he carefully pours the tea and gestures warmly towards a fruitcake, it is – for a fleeting moment – hard to imagine this affable man rafting alone through the wilds of Brazil or sleeping rough under a Saharan night-sky. At one point, he impersonates a tropical spider with a chocolate brownie. But as he recounts each extraordinary episode (smuggling himself over borders under moonlight, becoming a godfather to a Penan child in Sarawak, debating with island chieftains dozens of miles off Sumatra), it becomes clear that it’s the human encounters that really grip him. He has an extremely acute social conscience. This is a man who, when meeting the legendary activist Claudio Villas Boas deep in the Brazilian interior, was hailed as the “first sign” of a visionary new enlightenment. Villas Boas may well have been right: Hanbury-Tenison co-founded the world’s first charity for indigenous groups, Survival International, the self-described “movement for tribal peoples”, forty-three years ago, and hasn’t paused for breath since.

But what are explorers, today? “Explorers,” he remarks dryly, with his hands clasped as through reciting a confessional, “are very selfish people”. This seems like unnecessary self-flagellation, but he continues. “It’s riven with clichés, but we’re all into finding the last blue mountain and all that. We want a bit of supremacy. And why? Because we’re inadequate in some way. It’s no coincidence that many explorers had powerful fathers and domineering mothers.”  

It was during his childhood, wiled away in rural Ireland, that the first hints of this incredible character began to show. How do you bear the loneliness, I demand rather bluntly. The reply is quick and succinctly logical. “I’ve always been good at coping. From the age of seven, I’d happily sleep alone in a treehouse on the island in the middle of the lake. Not many children get to do that.” I put it to him that not many children want to do that. “Yeah.” He ponders momentarily. “Then I don’t know what it was. Maybe having a sibling at the war?” There’s a pause. “I was able to endure solitude,” he declares, finally.

As a child, did he dream of travel? “Yes, always. It’s just born in you, I suppose. I was – and am – eclectic.” When I ask which historical explorer he feels most affinity to, he answers instantly: Humboldt, the great Prussian scientist. “He was brilliant, the last of the great Renaissance men exploring.” He smiles modestly. “But really I’m not at all a Humboldt. I’m just lucky enough to have been there. I just get things done and change things.”

Hanbury-Tenison loves science – or, at least, scientists. “I’ve learnt the art of provoking scientists into speaking like human beings,” he laughs, then looks sheepish. “There’s a genus of butterfly called Idea,” he muses, sounding guiltily romantic. “It looks a bit like a lace handkerchief. I used to enjoy watching lepidopterists pursue an Idea through the forest.” He grins warmly. “That really sums it up for me.”

But his memories are as much poignant as they are poetic. He recalls accompanying a military expedition through Panama in 1972, on the way seeking out the defiant Cuna Indians on the mysterious Darien Gap. There, under the astonished eyes of a tribal congress, he endured the grotesque experience of having to explain that their ancestral lands were shortly to be inundated by a vast government dam. “There are huge forces opposed to people and terrible things happening all over the world,” he proclaims, with a defiance that catches me off-guard. “If you’re looking for a cause to support, it doesn’t come greater than with tribal peoples.”

Three years earlier, he had been dispatched to survey and encourage the ailing indigenous populations in Brazil, after a British journalist published a gruesome exposé of the abduction, intimidation, and ethnic cleansing of thousands of tribes-people. It’s a chapter of world history still disturbingly below the cultural radar. He has dark memories of an almost cinematic encounter with a high-level apparatchik in this shadowy realm of the Brazilian government. “I mean he wasn’t Germanic, but the man sounded like Hitler,” he grimaces. “He basically tethered me to a spy. Mr Romalio, Jr. A dreadful man.” He whispers in a mock-conspiratorial tone. “Our mission was to get round behind him and charm people.”

His work has, of course, not charmed everyone, but that’s perhaps unavoidable. There’s a perilously slim line between protection and paternalism. Critics have repeatedly called for an organised programme to integrate marginal groups into the modern, global village. By this stage in our conversation, I might as well have been Survival’s biggest convert, but I muster a sceptical voice so Cherwell’s worldly readers won’t think I was totally besotted. Mightn’t you be denying opportunities for tribal peoples by promoting their isolation? What if a hundred Darwins and Newtons have been confined to some neglected tropical forest? The veteran explorer frowns severely. “No, no, no,” he stutters, in near-outraged staccato. “Now you’re being ethnocentric. Deeply racist. Victorian.”

The biggest problem with integration, he explains, is the inevitable loss of dignity on the part of indigenous peoples. “It is important to have a strong culture. Everyone needs a culture against which to fight.” He views societies and their traditions as distinct, definable, accountable only on their own terms. Tragically, his best friend was killed in a surprise attack by tribes-people in the Brazilian rainforest, but, he claims, blaming the attackers has always been unthinkable, even nonsensical. You can’t cross-pollinate values and principles without degrading something. “Teaching property rights”, for instance, “is not a good plan. And anyway, there’s something wrong with us,” he ventures, rather boldly. “We don’t have culture.”

The world, he says, is on a relentless path towards ecological tragedy. “We are reaching tipping points.” Is he optimistic? “We could go back to being hunter-gatherers – which of course I’d love – but it isn’t very practical. My main book I’m working on is an answer to all this, but” – he smiles – “I’m not going to reveal it to Cherwell just yet. Watch this space.” I watch. He looks like he’s weighing up whether to mention something. “Alright,” he concedes. “It’s basically about geoengineering. The time has come to grasp the nettle. It’s what we’ve been trying to do since the first shaman tried to make it rain. The only difference is now we can do it.”

How does he feel about being labelled “the greatest explorer of the past twenty years”? He laughs, disarmingly. “I don’t actually believe my own propaganda, but somebody had to put it forward. So I say, I know it’s tough, but I’ll take the glory.”

If he does take the glory, I think privately, he does it rather discreetly; he is astonishingly modest. I look back at taxidermic Chico, who is still (unsurprisingly) surveying the living room aloofly. The great explorer is, by now, settling down on the sofa with the TV schedule, but I can’t resist asking “where next?” Is he tempted to track down the remaining uncontacted groups scattered across the Amazon? He closes his eyes serenely. “One longs to go down and say hi. But, of course, they’d kill you.” A wry smile flashes across his face, and he grins suddenly. “To which I say: very properly.”

Interview: Japandroids

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Any music fan worth their salt will have heard of Japandroids. All those still earning their musical stripes will find it worth their while getting to know the duo. For the uninitiated, Japandroids, aside from having the best pun in their name this side of Camper Van Beethoven, are one of the most exciting Canadian bands of the new millennium. In a Canadian indie scene that is flowing over with talent (Arcade Fire, The New Pornographers, Broken Social Scene, etc.), Japandroids have become legendary for their live prowess and their energy.

Any music fan worth their salt will have heard of Japandroids. All those still earning their musical stripes will find it worth their while getting to know the duo. For the uninitiated, Japandroids, aside from having the best pun in their name this side of Camper Van Beethoven, are one of the most exciting Canadian bands of the new millennium. In a Canadian indie scene that is flowing over with talent (Arcade Fire, The New Pornographers, Broken Social Scene, etc.), Japandroids have become legendary for their live prowess and their energy.
Their most recent album, Celebration Rock, is a collection of five-minute bursts of visceral rock music, drums crashing, guitars wailing and snarling, and voices shouting above the fray. Fans of the band’s debut album, Post-Nothing, will find the idea of the vocals being above the mix a little foreign. In Post-Nothing, the vocals hovered beneath the music, never quite breaking free. Dave Prowse, on drums and vocals, confirmed that this album marks a change in the way they work: “We´re becoming less ashamed of our voices as time goes on, so we’re less and less shy about bringing them up in the mix.  For a long time, the vocals and lyrics were an afterthought in the songwriting process, whereas now they are as important as the music.”
The music is certainly important, as their legions of fans across the world will attest. The two members of the band are influenced by an impressive number of great artists – “The Sonics, Constantines, the Yeah Yeah Yeahs, and Mclusky” to name a few. The influence of shoegaze also looms large, without ever allowing their music to descend into the somnambulant noodlings of so many noisier artists.
However, as excellent as the recordings are, it seems the heart of Japandroids lies in live performance. Prowse acknowledges the importance of recorded output as a permanent mark left on the musical world. He insists, however, that the Japandroids “started playing in a band because we wanted to play shows, and playing live is still what I love most about being in a band.” 
Nowadays, Japandroids play gigs across the world, and across Canada, although the life of a Canadian touring band is a difficult one – “Canada is such a gigantic land mass with very few people, so touring across Canada involves a lot of long, long drives.” They still manage to cover the three main cities – Vancouver, Toronto and Montreal – but this unfortunately leaves many smaller cities Japandroidless. 
This must be especially galling given the global touring schedule that Japandroids regularly undertake, covering Poland, Hungary, Croatia, Greece, Russia, Iceland, and Costa Rica. This is in part due to the support of internet tastemakers such as Pitchfork. Prowse admits as much: “I don’t think we would have been able to go to those places without the help of the internet, and the ease with which music can travel these days. Of course, some bands will always get more attention than others, but you can find anything you want online, and that’s amazing.” 
This attention has fundamentally changed their lives (back before Post-Nothing they had perfectly normal existence) “working day jobs, playing shows on weekends, going on small tours when we could get the time off from work.” Nowadays, they have the opportunity to do what they love as their day job. Prowse is not naïve, however, and realises how far there is yet to go. “It has been incredibly exciting, and we are very aware of how lucky we are, but at times it has been a difficult transition. We’re still learning how to be a ‘real’ band, and we still have a long way to go.”
Celebration Rock starts and ends with the sound of distant fireworks. Perhaps this is a celebration not only of rock, or of how far the band has come, but of what lies before them. Or perhaps, as Prowse points out, they “just like having an excuse to light fireworks.” Fair enough, they deserve it!
Japandroids are currently touring.

Their most recent album, Celebration Rock, is a collection of five-minute bursts of visceral rock music, drums crashing, guitars wailing and snarling, and voices shouting above the fray. Fans of the band’s debut album, Post-Nothing, will find the idea of the vocals being above the mix a little foreign. In Post-Nothing, the vocals hovered beneath the music, never quite breaking free. Dave Prowse, on drums and vocals, confirmed that this album marks a change in the way they work: “We´re becoming less ashamed of our voices as time goes on, so we’re less and less shy about bringing them up in the mix.  For a long time, the vocals and lyrics were an afterthought in the songwriting process, whereas now they are as important as the music.”

The music is certainly important, as their legions of fans across the world will attest. The two members of the band are influenced by an impressive number of great artists – “The Sonics, Constantines, the Yeah Yeah Yeahs, and Mclusky” to name a few. The influence of shoegaze also looms large, without ever allowing their music to descend into the somnambulant noodlings of so many noisier artists.

However, as excellent as the recordings are, it seems the heart of Japandroids lies in live performance. Prowse acknowledges the importance of recorded output as a permanent mark left on the musical world. He insists, however, that the Japandroids “started playing in a band because we wanted to play shows, and playing live is still what I love most about being in a band.”

Nowadays, Japandroids play gigs across the world, and across Canada, although the life of a Canadian touring band is a difficult one – “Canada is such a gigantic land mass with very few people, so touring across Canada involves a lot of long, long drives.” They still manage to cover the three main cities – Vancouver, Toronto and Montreal – but this unfortunately leaves many smaller cities Japandroidless.

This must be especially galling given the global touring schedule that Japandroids regularly undertake, covering Poland, Hungary, Croatia, Greece, Russia, Iceland, and Costa Rica. This is in part due to the support of internet tastemakers such as Pitchfork. Prowse admits as much: “I don’t think we would have been able to go to those places without the help of the internet, and the ease with which music can travel these days. Of course, some bands will always get more attention than others, but you can find anything you want online, and that’s amazing.”

This attention has fundamentally changed their lives (back before Post-Nothing they had perfectly normal existence) “working day jobs, playing shows on weekends, going on small tours when we could get the time off from work.” Nowadays, they have the opportunity to do what they love as their day job. Prowse is not naïve, however, and realises how far there is yet to go. “It has been incredibly exciting, and we are very aware of how lucky we are, but at times it has been a difficult transition. We’re still learning how to be a ‘real’ band, and we still have a long way to go.”

Celebration Rock starts and ends with the sound of distant fireworks. Perhaps this is a celebration not only of rock, or of how far the band has come, but of what lies before them. Or perhaps, as Prowse points out, they “just like having an excuse to light fireworks.” Fair enough, they deserve it!

Japandroids are currently touring.