I haven’t written much about Trump, and nothing on this page. There’s a lot of pretty cogent (and a great deal more totally incoherent) writing about what Trump has done and where it’s all going (wrong, mostly). One thing that strikes me, and this isn’t really an original thought, is that the entire Trump administration is interested only in getting the most for its own. The other thing is that there’s just a vast amount of pure subversion of American ideals at work in the whole operation.

This post is a little jumbled – mostly written on flights between Hyderabad, India (not Pakistan), Dubai, and Amsterdam.

riding_the_bombI’ve heard that George Bush Junior is getting some rehabilitation these days for speaking against Trump. I can appreciate that, even though there’s no love lost between me and Shrub, and no forgiveness for what he and Cheney and Rumsfeld did to the US. Remember, though, that we never felt from him that he didn’t have the interests of the US in mind. Even when he went to war, he did it with, I think, some thought as to what it meant. (I may be wrong.) When Trump opens his mouth, or does anything (again, not a new thought), it’s an expression of what he thinks in the moment. This may change the next time someone hands him some new information. Like when the PM of China recently schooled him on Korean history. (The problem here is that China’s opinion of Korea might be rather close to its opinion of Tibet – or Serbia’s opinion of Kosovo.) He doesn’t think that anyone else might know more than what he’s just learned. It’s strange – we thought we were the world’s laughing stock when Bush II was president. He seemed to depend so much on his advisors and so little on his own learned assessment of the world. This surprised no one, but at least his advisors, mostly from his father’s circles, had seen the world and served, many of them, as elected officials. Bush II had served more than one term as a state governor, for crying out loud. He wasn’t without experience, even if those of us on the left didn’t think it worth much. We criticised, rightly, how he didn’t even manage managing a baseball team very well, and didn’t get that job on his own merits either.  It was just his dad pulling strings to keep the wayward son busy.

Everything we know about Trump from before the election (I won’t say his election – there’s no doubting the role of state-sanctioned election fraud and gerrymandering in Trump’s so-called victory – not to mention the continued evidence of Putinic interference) pointed to an inability to do anything honestly and a near pathological need to find himself capable even though he obviously never has been. At much of anything except self-promotion. I follow the news, but there’s not telling which direction events will take. Today’s news has indications of tension in North Korea. (In the early 90s, I recall tension, and friends who knew a great deal more of political affairs than I did wondering why the place was so vital after such a long period of relative diplomatic stability. For the last several years we’ve cried at Kim Jong-un’s disturbing assassinations, and at the state of things in N. Korea in general, but haven’t thought it to be an epicentre for the next major war. We being those of us who only casually keep up with the news. It’s possible that people far deeper in foreign policy than I’ve ever been have always known that Korea’s the epicentre of the hot version of WWIII. Or as I usually write, the next battlefield of WWI.

I don’t recall who posted recently that he (80% certain as to sex of the writer) never went to bed during the Obama administration fearing to wake up to the next world war. I felt that way in the 80s, mostly a product of late Atomic age overreaction, but I was 13 when Reagan took office and his sabre-rattling was in terrifying contrast to Carter’s pacifism. I didn’t realise then what the phrases about Eurasia and Eastsaia from 1984 meant. The Carter years, in retrospect, were a brief respite from the wars in SE Asia that had only been over a year or so when he took office.

The incompetent war mongering is one aspect of what passes for policy in the current administration. The threats this week to pull out of/renegotiate NAFTA have us playing the fool on the stage of world economics. Trump seems to find any trade deficit disadvantageous to the US, an argument not supported by experts in world trade (according to Reuters –  28 April 2017). It’s another example of Trump taking a knee-jerk approach to a situation and calling it policy. Much like healthcare (‘No one knew healthcare was so hard’), the policies that define a country’s position in the world are difficult to determine, rely on history, expertise, institutional knowledge, and diplomacy. The idea that a person can learn these things (as a great rabbi discussed) standing on one foot is patently ridiculous. The corollary to the idea that one can’t learn Talmud while standing one foot is ‘Do no harm – the rest is commentary. If the current administration (and the US congress!) could take that tack for the next few years, people would be satisfied. (Alas, as rapper Ice-T once said, ‘Shit ain’t like that.’)

Sarah Waters’ novel Fingersmith, set in Victorian England, tells of an illiterate girl, raised with an Oliver Twist-like band of criminals, who is hired out as a maid to an orphaned Japanese heiress in the care of her uncle. There are some truly Dickensian plot twists including an involuntary commission to a madhouse. Central to the plot is the love that develops between the young thief (Sue) and the young lady (Maud).

Chan Wook-Park’s Handmaiden is a Korean adaptation set in World War II-era occupied Korea. While there are obviously some dynamics between the Korean and the Japanese characters that might be lost on a Western audience, there are only a few indications of the period. Japanese soldiers on a ferry, for example. A note at the beginning of the film lets us know that subtitles in white indicate Korean, while subtitles in yellow indicate Japanese. That said, the film mostly takes place on a wooded country estate. (Occasional music cues indicate a debt the filmmakers feel they owe to Downton Abbey.)

Arranged in three parts, the first details the story from the perspective of the thief (Sook-Hee). She arrives, plays her part, which is to make the heiress (Lady Hideko) fall in love with he Fagin character (Count Fujiwara – a Korean who can play a convincing Japanese aristocrat) so that he can have her committed. It concludes with the three going off to celebrate the marriage and the honeymoon. Hideko’s role is to play a somewhat head-sick ingenue.

The second part goes back earlier in the story to when Fujiwara conspires with Hideko’s uncle (Kouzuki) and guardian to take the girl away so that her inheritance will devolve back to the uncle. Kouzuki, we learn, is a collector of pornography. Lady Hideko has been trained from a young age to give dramatic readings of this material to selected guests. She’s not the naïf we thought we’d met in part one. These readings are some of the most intense scenes in film. With everyone in the room fully dressed, they’re more sensual than the actual sex that the film portrays.

In the third we learn of the double-cross planned by Hideko and Fujiwara. I don’t want to give anything away to folks who’ve neither read the novel nor seen the movie, but the film gives very little time to the madhouse sequence which was one of the more unexpectedly harrowing pieces of writing I’d ever come across. The fact that Sook-Hee is illiterate makes for some amusing moments early in the movie, but these moments are used to contrast only Hideko’s dramatic readings. The contrast is far more disturbing and used to much greater effect in the novel.

Kouzuki and Fujiwara both receive an interesting (and somewhat horrific) comeuppance.

I’ve become rather prudish in my old age and found some of the sex rather gratuitous. Beautiful, but distracting from the power of the rest of the film. I knock off a star for the combination of that and the missed opportunity of the madhouse. Otherwise, Handmaiden is beautiful, intriguing, and very well crafted.

And last year’s fine effort brings the Van Der Graaf Generator saga to a close. Clocking in at just under an hour, Do Not Disturb is a curious effort. They three remaining members only worked together on the music for about two weeks (according to the wikibox), but it sounds much like another well-oiled VDG machine.

vdgg-dnd(Oh No I Must Have Said) Yes seems to be a response to the various failings of the electorate in the past year, though the recording was complete before, for example, the Brexit referendum…

But let’s not talk about the old days
except to say the consequences run,
to be plain, what’s over isn’t done
and you thought you were only having fun.

As always, most of the songs seem to contain epics within them, slow movements calmly orchestrated still go measure to measure with slamming drums, weirdly overlaid vocals, and histrionic keyboards, but if they didn’t, we’d question whether we were listening to the right band.

It’s definitely good stuff, but not the gut-grabbing musical assault that we were once used to.

I realised there’s another live recording: Live at Maida Vale, recorded at the BBC in 2010 and released in 2012. It’s not on the band’s Wikipedia discography, but it’s up on Spotify. I’ll probably give that a listen next week.

You’ll note that I skipped one. 2012’s ALT was an interesting enough instrumental album, but nothing really to jump and shout about.

vdgg-maMerlin Atmos, recorded in 2013, is a live album featuring the trio line-up that had recorded ALT, A Grounding In Numbers, and Trisector. A such, it leans on these later albums,  It opens with Hammill’s solo epic Flight from the 1980 release A Black Box. It’s a proper full-side piece in multiple parts in the vein (sort of) of A Plague of Lighthouse Keepers (which takes up side 2 of Merlin Atmos‘ vinyl release).

There were two CD releases – a single and a double. The single includes the two epics and closes with a tight version of Hammill’s Gog, previously heard in a poor 1975 live recording as a bonus track on Still Life.

Disc one also features Lifetime and All That Before (Trisector) and Bunsho from A Grounding In Numbers.

It’s quite an interesting affair, a good balance of the old and the more recent trio work. It’s interesting that both this and Vital were recorded by lineups that weren’t the classic quartet. As such, David Jackson’s horns are especially missed on the older material. On the other hand, the recording is clean and the performances are as intense as one would expect.

The second disc (Bonus Atmos) features:

  • Interference Patterns, Over the Hill (Trisector)
  • Your Time Starts Now (A Grounding In Numbers)
  • Scorched Earth (Godbluff)
  • Meurglys III (World Record)
  • Man-Erg (Pawn Hearts)
  • Childlike Faith In Childhood’s End (Still Life)

They’ve been doing this work a long time and the renditions are generally tight. I think the solos, such as the keyboard adventure in the middle of Childlike Faith, seem a little tightly bound to the original versions. At two hours twenty, I don’t feel driven to compare the live tracks to their studio counterparts in the moment, but these versions are certainly satisfying. Hammill lets his vocals soar in a way he hasn’t on the recent studio recordings. I’d say it’s as good an introduction to their work as you’re likely to find.

A stronger effort in many ways than Trisector, but more lyrical weakness. Lines like ‘Mathematics / Just so “wow” it brooks belief’ (from track 2, ‘Mathematics’) are more common than one would like to admit. On the other hand, there a lot of musically strong numbers – track 3, ‘Highly Strung’ is one of those – Hammill, Banton, and Evans seem to be finding their places as a trio in a way that wasn’t evident on Trisector (even though the three had been playing together for decades).

Opener, Your Time Starts Now, is almost theatrical with sweeping organ fills, and big concepts about how the addressee hasn’t been getting on with it, but now must.

vdgg-agin-cdIt’s a poppier affair, at least in terms of song length. Five tracks clock in under three minutes; only four break five; and only one breaks six.

Snake Oil certainly speaks to the current dystopian zeitgeist, ‘Brainwashed and bound to believe in the orthodox text, slogans on t-shirts, / the punters can’t wait to be told
what to think of next’, from a slightly different angle to 2005’s Every Bloody Emperor.

Side note – I posted that song on FB last week and my mother shared it out. If even my mother (who loves Leonard Cohen, but otherwise listens to musical theatre, classical music, and a lot of NPR) would give Van Der Graaf a try, what would it take to get that song up on the charts?)

Smoke has a funky keyboard opening that slides in and out of something nearly disco (in a good way), but after slipping into something even weirder, they decided not to take it very far. Despite the line ‘You held your inattention’, two and half minutes is as far as they decided to take it before segueing into 5533, another song ostensibly about something mathematical (‘As the primacy of digits ticks the boxes / So the codes that they unlock begin to run’).

A Grounding In Numbers closes with All Over The Place, which might be as good a title for the album as the one they used. The longest track on the album, it leads with a nice harpsichord melody (that might be a counterpoint to the organ of Your Time Starts Now) but the whole song is still a little piecemeal, like they felt they had to do something proggy and multi-sectional.