Archive for October, 2008

Weathering the TV forecasting storm

Sunday, October 19th, 2008

It’s not only music that will be endearingly remembered from the 1980s. A late night discussion between the two of us this week concluded that most TV weather forecasts these days are nowhere near as good as the ones from over twenty years ago. It’s all about the graphics, you see.

While the BBC had a furore on its hands three years ago with its current map that sweeps under the forecaster’s arm when speaking about the weather for a particular UK region, the corporation’s slots have long been the best. On Wednesday night on the other hand, we decided that ITV’s are still the worst. Why? Both national and regional broadcasts are not detailed enough. But, most displeasing of all, they use cheap-looking, and outdated symbols and graphics.

Modern-day broadcasts are a long way from the weather forecasts on the Beeb from the late Seventies and early Eighties. There were no green or blue screen maps and no digital imagery back then, and the few-minute slots were all the better for it. Yes, they seem antiquated and outdated now, but will there ever be weather symbols more iconic than those of BBC Weather from thirty years ago?

Simple, stylish cloud-like outlines, with clear graphics attached to denote hail, rain, snow, or sun, the forecasters stuck the magnetic symbols onto the forecasting chart behind them, moving the pictures where necessary from one part of the country to another, to show changing conditions. Of course, as technology advanced, the boards were gradually disposed of, but even when computer graphics were first used, the symbols stayed.

In the older forecasts, the BBC’s presenters used to walk around the studio, too, from one board to the next, and the satellite pictures were no more than photocopy-looking grey and grainy scans. The blue outlined map on them looked like it was drawn with a felt-tipped pen, and with the absence of a hand-held clicker to change the picture, symbols and areas of the country were pointed at by big sticks and pencils.

All endearingly low-tech, and the like of which we’ll never see again. No doubt there’ll be many more  innovations and high-tech solutions to help the forecasters inform us of our changing weather patterns, but they’ll no doubt be cloudy and foggy compared to those bright and sunny forecasts of yesteryear.

Sandra: Japan ist Weit

Friday, October 17th, 2008

There were many things about the 1980s that weren’t cool, but the music certainly was. Ask for an opinion about the period, and the tunes that powered it will most likely come up as one of the most-loved of any decade. The start of the 80s heralded the arrival of electronic music, and by the decade’s end, was hugely popular dominating the charts, before becoming uncool, when Britpop invaded the music scene in the 1990s.

There’s no doubt about it; Eighties music is fondly remembered, and every ‘cool’ band and solo artist is referencing it in 2008, following on from a trend started in 2007. British three-piece Keane are the latest to go 80s, with their latest album Perfect Symmetry, which, I believe, yields mixed results. It turns out that there are right and wrongs things from Eighties music to reference.

I discovered this genuine 80s track this week, hidden away on a greatest hits DVD. Sandra Cretu is best-known for providing vocals on the early Enigma albums from the early 1990s (her husband, Michael, is the brains behind the atmospheric productions), but she has had a solo career of her own for over 20 years. She’s Germany’s answer to Kylie.

Putting out singles since she was 13, and then breaking away from girl group threesome Arabesque in the late 1970s, she was little known outside her native country. Her breakthrough hit, Maria Magdalena, gave her worldwide exposure in 1985, and a string of 33 hits followed in the 1980s, 1990s, and 2000s. Her latest long player, The Art of Love, was released last year, following 11 other solo productions.

But this, her first solo offering, Japan ist Weit, must go down as one of her best moments. No, it’s not strong vocally, but with a squelchy synth bass line and backing track pulsating like a musical heart, typically 1980s drums, and lots of clichéd Japanese-sounding  keyboards, it’s a legendary piece of little-heard 80’s pop. The fact that Japan is pronounced ‘Yapan’ in German is the icing on the Black Forest Gateau.

If you recognise the song, there is a reason why. A cover of Alphaville’s Big in Japan from 1984, Sandra’s version disappointingly didn’t chart (her compatriots’ release got to number 1 in 4 territories). If you yourself would like a copy of this slice of particularly string 1980s cheese, hunt around a bit on the web, as it is there waiting to be put on the cheeseboard of long-forgotten 1980s pop.

So, although she was incredibly popular on the continent in the 1980s, was Sandra herself big in Japan?

The Starfish Project

Friday, October 10th, 2008

Stammering has more than once held me back from what I want to say, but for many more people it stops them from leading the life that they want to, or from being who they want to be. That’s no grandiose statement, either; it really can take control of you, and effectively take away your voice. Which, as much as I may not admit it now, was what it was doing to me, until I became a member of the Starfish Project.

Spending three days with fellow stammerers, you learn the basic costal breathing technique, and how to manage the feelings around stammering. Through various exercises and lots of chatting (something many stammerers haven’t been able to do before, remember), many people begin to find their voice at last.

It’s much more than a residential course spent at a hotel in the Sussex countryside. You meet so many people who understand what you’re going through and are about, and who you would not have met before; you immediately become one of the Starfish family. The first course has a fee, but after that, repeat attendances are free, and as a ‘refresher’ speaking from experience, you get so much more out of the second time than the first, because you are helping other people, just as other people helped you.

The Starfish Project is the passion of Anne and David Blight. Born from a vision in 1999, Anne moved away from the more well-known McGuire Programme, and started to teach her stammering toolbox of approaches to eight to 10 people at a time. Even though she has never stammered herself, she seems to know the frustration and occasional pain that stammerers feel. Making no claim to cure stammering (as that cure is non-existent), it’s quite literally breathtaking what results the course can have.

Just take these situations as examples. Some attendees haven’t been able to order a takeaway pizza, buy a coffee, or ask for what  they would like in a shop, as the stammer has always taken control of the situation. A mundane, everyday task very often becomes a herculean one. To see these people overcome their stammer and finally get some self-belief and reclaim back their lives is truly inspirational. But, every stammerer is as individual as their stammer, and the way if affects them.

I first became a member of the Starfish (Supportive Training And Recovery For Individual Stammerer’s Harmony) family some five years ago, and went back the following year as a refresher, but, like some distant and lost cousin, have been away for some time. There’s been no logical or genuine reason for that, although I think that being a covert stammerer and sometimes hiding my speech problems meant that I didn’t practise either the technique or the thinking as much as I should have done. My covertness often lead to complacency; my speech wasn’t as difficult as other people’s, so should I worry that much?

But, you know what? In those four years, my speech was, at times, as difficult as other people’s. So, I made the resolution to go back on a course this year, and although something came up on that particular occasion, I was heartened to read of a workshop day, right on my doorstep in Chelmsford. That was on Saturday, and after a fantastic day meeting over 40 other Starfishes, I’d like a think that I’m once again on the way to becoming a not-quite-so-distant member of the Starfish family.

I’ve joined the Essex support group, which handily meets in Chelmsford every fortnight; my first visit was last night. They’re a lovely bunch, and very supportive of each other, making hopping on the getting back train and staying on it so much easier. It’s good to be back, too, and the ‘comeback’ visit down to Sussex will happen, I’m sure of that. This week has been a little strange at times, though; as it seems that even just talking about the course – always in an excited and energised way – makes me stammer.

But, all of us know that everyday won’t be perfect, and if we have a good day, we have a good day. And, if we don’t, it’s nothing to beat ourselves up about. At the moment, I’m taking each day at a time, and setting myself minor goals, almost rewinding to the start of that first course. It’s been hard, and you do sometimes forget, but if you continually think Starfish, then just like the stammer has been, it becomes a whole new way of life.

Punctual. On time. On the dot.

Friday, October 3rd, 2008

We’ve been on time 90% of the time!

We know that what you want most from us is trains that arrive and depart on time. So we’re delighted with our latest punctuality results – with six successive months over 90%.

Plans are being put in place to reduce both the number of disruptive incidents that occur and the impact they have on passengers’ journeys. And we’re also looking at options to increase the number of seats at peak time to increase your comfort.

Source: National Express East Anglia 

Really? If this week is anything to go by, National Express East Anglia knows nothing about being punctual. I’ve only been on the trains four days this week, but out of eight journeys, four of them have been delayed or late arriving at their destination. That’s a 50% punctuality rate, falling some way short of the company’s claimed 90% for the East Anglian Mainline service.