Lyrics to Live By Keys to self-help – notes for a better life

IT’S often said that the best ideas are the simplest. And this is certainly the case with the idea behind Lyrics to Live By. Indeed, I’d go as far as saying that the idea behind the book is so simple it’s absolutely brilliant.

So what’s the idea, what makes it so simple and why is it literally a stroke of pure genius?

The idea’s so simple because it relates to something that we probably do every time we hear a song – and that’s to sing along to it and wonder what some of the lyrics actually mean.

This basic query about the meaning of the lyrics can also generate many other questions. For instance, how did the song come about, how long did it take to write, what is the writing process and what’s the idea behind the song? Why use the particular set of lyrics that appear? How personal is the song – and does it contain any hidden or subliminal messages?

With this in mind, the publisher of Lyrics to Live By has asked Tim Bragg to interpret the lyrics of a dozen songs. Ten songs were provided by the publisher whilst Tim chose Paul Simon’s Slip Slidin’ Away and one of his own compositions, Some Answers.

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For those who don’t know, Tim Bragg is a multi-instrumentalist and a writer of songs, novels and short stories. Indeed, he has several albums and books to his name. He also has a deep interest in English and green politics and is the founder of English Green – https://www.facebook.com/groups/167522623276444/?ref=br_rs – which describes itself as ‘a group interested in ecology and its relationship with all aspects of human activity. How we co-exist with the flora and fauna and how we conduct ourselves in an ecologically healthy manner and how we achieve a spiritual and material well-being are of particular interest’.

Tim is also a really deep thinker – he describes himself as “the eternal outsider” and has been described as “a provocative intellectual renegade”. He is also interested in issues relating to free speech and English culture, previously describing Stratford-upon-Avon as his “spiritual home”.

In his Foreword, Bragg sets the scene by highlighting the importance of music:

‘But we are drawn to particular songs and musicians who seem to speak to us. They really do help guide us through life and come to our aid when most needed. At our lowest, a song can be played over and over, and this repetition seems to heal. When we are blue a blues song seems to do the trick. And the very personal nature of a song makes it effective for our own personal situation – bad/good or otherwise. I am thankful to the musicians who wrote songs that helped me through difficult times: the end of a love affair … for instance’.

I’m sure we’ve all wondered, why certain lyrics have the ability to strike a chord deep inside us. Indeed, every reader could probably suggest the lyrics of several songs which have really touched them – almost in a spiritual way. To me, it simply illustrates the beauty and power of song. However, has it always been like this – and will it be like this forever?

The lyrics Tim comments on are really varied – they include those from Hey Jude, Stairway to Heaven, Wicked Game and Big Yellow Taxi. The musical genres covered are also fairly broad. Writers include Mick Jagger and Keith Richards of the Rolling Stones, John Lennon and Paul McCartney of the Beatles, David Bowie, Bob Dylan and Joni Mitchell.

I’m not going to give you any details of what he makes of any of the lyrics (and I know that this is extremely strange for a review!) as I want to encourage readers of Lyrics to Live by to really think for themselves. That’s because we live in a world where all sorts of information is readily accessible and Wikipedia is king. Such easy access to information is very much a double-edged sword. On the positive side it enables folks to learn about more-or-less anything under the sun. On the negative side, I fear that many folks are – or have – lost the ability to question information and think for themselves.

Earlier I mentioned that Tim is a very deep thinker, and this is certainly borne out in how he interprets the lyrics. I must admit that I’d often sing along to a song and spend a few minutes contemplating what the lyrics mean. But to actually sit down and to probably spend hours really analysing the lyrics is probably an art form in itself!

This is the first time I’ve read an examination of lyrics to such a high level. Indeed, Tim noted that the process was ‘almost as if meditating’. I really do think that most people will be in awe of (or even shocked at) the depth of thinking employed here. Whether you agree with Tim is open to debate. However, it would really be interesting to know what readers think of his in-depth interpretations.

Lyrics to Live by also poses many questions in itself. I’m not too sure if this was the original intention or simply a by-product of the subject matter?

For instance, I’d particularly like to know how and why the particular songs – and more importantly, the individual lyrics – were chosen by the publisher? I also wondered if there was any sort of thread linking the artists? I presume they must mean something to the publisher, but what? Are they in some way personal, or do they contain any hidden or subliminal messages? Indeed, does Tim’s interpretation of the lyrics match those of the publisher, or are they wildly different? Furthermore, I found it interesting that Tim looked at the lyrics of one of his own songs – I wonder if this was therapeutic in any way?

The Foreword mentions Tim’s admiration for Phil Lynott and Van Morrison, who ‘have certainly helped me through my life’s journey’. Yet neither of them feature in the book. This got me wondering what artists would any of us choose to analyse– and why?

A couple of other things also came to mind whilst reviewing the book:

Firstly, Tim Bragg is a multi-instrumentalist and is comfortable with different genres of music. With this in mind, I presume that a Heavy Metal singer would be more at home looking at the lyrics of a Heavy Metal song. The same would presumably go for a Folk musician with Folk lyrics. However, what would happen if you gave the Heavy Metal and Folk singer the lyrics to a Country and Western song? Would the change of genre completely throw them – or would they both apply the same thought process, successfully analyse the lyrics and manage to overcome the change in musical style?

Secondly, this review has thrown up many unique and interesting ideas and questions. They all lend themselves to a series of books looking at various lyrics and their meanings. I’d love to read the thoughts of other artists – and, in particular, independent artists – in the very near future. Here’s hoping that the first follow-up book is at the planning stage already.

Reviewed by John Field

Lyrics to Live By is available as a Paperback or E-book from all Amazon stores

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Solo: A Star Wars Story (2018)

solo-a-star-wars-story-uk-poster12A | 2h 15min | Action, Adventure, Fantasy | 24 May 2018 (UK)
Director: Ron Howard
Writers: Jonathan Kasdan, Lawrence Kasdan | 1 more credit »
Stars: Alden Ehrenreich, Woody Harrelson, Emilia Clarke

I hadn’t realised how hated Disney were by some till I started reading the reviews for Solo! Whilst this movie has its flaws I found it entertaining.

The plot is simple and straighforward. A young Han Solo joins a gang of galactic smugglers and travel to the mining planet Kessel to steal valuable coaxium (used to make fuel). Alden Ehrenreich as the young Solo isn’t as rugged or cynical as Harrison Ford’s version. That’s part of the problem. Many Star Wars fans found they young Solo unconvincing. Could this “pretty boy” really survive amongst the scum of the universe and become the older Solo? A man who seems to owe all the most dangerous people in the Universe money and lives on the edge and on the run. The answer for many was a resounding “No!”. Yet this is a younger Solo, setting out, learning lessons and becoming a man.

The film also has to tick some boxes along the way. He has to get his ship the Millennium Falcon. He must meet a certain Wookie etc. This is all weaved in fairly convincingly though.

Great action scenes and an interesting love interest in the form of eye-candy and great actor Emilia Clarke as Qi’ra. The dynamic of the relationship between Han and Qi’ra is fascinating. As Emillia said: “They grew up as comrades, essentially. They grew up as pals, as partners in crime. There is obviously the romantic side of things. But they grew up together. So they were kids together.”

There are some great supporting actors too, Joonas Suotamo as Chewbacca, Paul Bettany as Dryden Vos, Woody Harrelson as Tobias Beckett (to name just a few).

Go with an open mind and you may enjoy it!

Reviewed by Patrick Harrington

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Locke’s Political Thought and the Oceans Pirates, Slaves, and Sailors

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Sarah Pemberton, PhD., examines John Locke’s political thought on the laws and freedom of the oceans by examining the Two Treatises of Government. Locke argued that the seas were collectively owned by all humans and governed by universal natural laws that prohibited piracy. His Two Treatises provided insight on international and maritime law. In this book; Pemberton analyses Locke’s political thought in an absorbing weave which draws together the Treatises along with Locke’s unpublished writings and other intriguing archival finds.

John Locke was born in 1632 near the port of Bristol. During his ‘Shaftesbury’ period (1666-1683), he was employed by Lord Anthony Ashley-Cooper, later Earl of Shaftesbury. A radical proponent of religious freedom, individual liberty and conscience, he believed power should be controlled and used to secure national interests. He was politically conservative, economically mercantilist, and morally authoritarian. He was a puritan with a modern and empirical vision. He was a member of the Board of Trade in England in the 1690s. Shaftebury is considered by some to be the founder of liberalism.

Locke’s Two Treatises are said to have been written at the pinnacle of his political philosophy. The Treatises contain his theory of government, power, property, trust, and rights. He wanted to build an empire on both land and sea. He proposed an anti-piracy treaty between Europe’s largest maritime players. He advocated English piracy laws and supported the idea of deploying the Navy against pirates. His ideas on piracy were consistent with natural law theory developed in the Two Treatises.

There has been much debate about when Locke’s two treatises were originally written. Published in 1689, they were possibly, written earlier. Considered an apology for the Glorious Revolution, British historian Peter Laslett, feels the writings date back to 1679. This lapse in time would have allowed Locke to amend the original, giving it the appearance of an apology, rather than a prescription for revolt, which could have caused him contention at the time.

In his first Treatise, he rebuts Sir Robert Filmer’s Patriarcha. Patriarcha’s main premise embraced the divine right of Kings. Filmer’s theory is a diktat that “all government is an absolute monarchy: since Adam was an absolute monarch, all princes since his time should also be absolute monarchs.” Filmer did not believe that man was born free, nor should they be governed by consent, as the masses do not possess the intellectual wherewithal to elect their leaders. Pemberton discusses this in her examination of Locke’s political theories.

Filmer claimed that man was not born into freedom, and a father, like a Monarchy; possessed unlimited rights over men’s lives, however Locke refuted this idea as unjustified. He argued against Fillmer’s attempts to provide a theoretical basis for patriarchy and examined his assumptions for logical cohesion. Taking issue with his ideas, Locke countered the theory of divine rule. He argued that Adam’s creation alone did not presume sovereignty over anything. Locke felt that rights must be established and argued that man is a governor in habit; potentiality did not imply actuality – he wrote, “A very pretty way of being a Governor without Government, a Father without Children, and a King without Subjects”. He argued against Divine rule, then outlined, in his second Treatise his justification of consensual government.

Locke’s Treatises are consistent with his later work on the board of Trade. There, he advocated forced migration and forced labour for English convicts. He felt forced labour was consistent with theories on penal slavery for the period and he discussed these in the Two Treatises. Pemberton feels Locke’s theories were intended to justify the current practice during the period. She sees a tension between his arguments in the Treatises with policies of forced naval service, which Locke, as a member of the Board of Trade, supported. Locke had a good relationship with King William and was very involved with colonial and trade policy during this period. His theories guided English government policies in the arenas of slavery and piracy, and he was influenced by Grotius’ Mare Liberum; whose central argument was based on freedom of the seas.

Locke’s theories of law and freedom on the seas also influenced his vision of English National Identity.

Locke was a colonial thinker, devoting much attention to the settlement and governance of the colonies. He was in the minority of political thinkers active in the practical aspects of business promotion and administration of overseas settlements, due to his position on the Board of Trade. Locke suggested that Europe come to a formal agreement on how to deal with international maritime law about piracy in his second Treatise. The international piracy agreement would be known as the Power of War and Peace, Leagues and Alliances and all the Transactions with all Persons and Communities outside the Commonwealth.

Locke considered the grandfather of liberalism; in the standard histories of philosophy, was also an exemplar of empiricism. His position on the Board of Trade had a bearing on his philosophies in the Treatises, just as Grotius’s writings on Natural Law came from his defence of the Dutch East India Company’s maritime activities. He argued freedom of trade across the oceans in The Free Sea (1609). Locke understood Grotius’s position well.

Locke acknowledged extractable resources such as fish and ambergris produced by the ocean could be acquired as the property of man. He glossed over that fact that these resources might be finite and risk extinction due to over-extraction. Conservation efforts such as with fisheries would have been consistent with Locke’s concerns about acquisition of private property. His theory of property had concerns. Starting with the premise that potential productivity of natural resources derived from human labour and not in the inherent value of the resource itself. He ignored the finite nature of natural resources, and he underestimated the value that eco-systems could provide. Overly concerned with human contribution, he completely ignored resource depletion. Furthermore, he criticized Native practices of land use, feeling they did not use the land productively enough, he felt that sustainable fishing wasted resources and again, ignoring resource depletion he emphasized man’s contribution and focused on over-productivity. His Treatises provide a systematic political theory of the seas and did not feel oceans could be considered ‘appropriated’ because they cannot be managed or improved in the same way that land can be improved.

Pemberton relates that Locke first addressed piracy in an unpublished manuscript called Pyracy which now resides in the Bodleian library. In this manuscript, he ambitiously proposed extending England’s existing piracy law to the colonies and extending protection of European trade to those involved in the Treaty of Ryswick and urged them to reach a formal international agreement on the piracy issue. Described as Power of War and Peace, Leagues and Alliances and all the Transactions of all persons and communities outside the Commonwealth, he wished to create a coordinated approach to piracy, to extend these laws across the World’s oceans. Unfortunately, he missed the issues of jurisdiction under Admiralty law. Like a good Loyalist, he felt that these laws could be extended to the colonies thereby preventing colonials from exercising autonomy on this issue. Locke’s contribution to piracy was consistent with his ideas on natural rights and the rule of law under the Two Treatises.

Locke had theories on penal slavery which stemmed from his position as a member of the Board of Trade and his work on piracy. This resulted in him advocating expanding English legal and naval power at sea and reducing political autonomy in the American colonies, which gave rise to tension between liberty and empire. He felt that penal slavery, including the English convicts, was justified. Those who broke natural law give up their rights and they should be punished proportionately, which he felt would deter future crimes and allow for making victim reparations. He argued attacking someone’s liberty was equivalent to murder and felt that participants in an unjust war broke natural law and should be legitimately enslaved or killed.

A practice England had already been taking part in for quite some time. The colonists including many so called ‘free’ subjects co-existed with those sent there under forced labour (penal) and forced migration. Pemberton relates that between 1600 and 1800 more than a million Europeans migrated to America and the Caribbean and up to a third of these immigrants were transported convicts or indentured servants, or bonded slaves, due to the cost of transportation across the Atlantic. Some came during this time by choice, but they forced many. After his death, his political philosophy in turn impacted on ideas leading to the Age of Enlightenment. It related to the development of separation of Church and State in the American Constitution. Pemberton takes us on an interesting journey, dissecting the Treatises, adding social and political context so we understand the period and why Locke was formulating the theories he was, his influences, along with other possible economic and political factors which may have played a part in the formation of his ideas.

Reviewed by Rosdaughr

 

Further reading recommendations on Locke:Tully, J., Rediscovering America: The Two Treatises and Aboriginal Rights’.
An Approach to Political Philosophy: Locke in Contexts. 1993.
Arneil, B., John Locke and America: Defence of English Colonialism. 1996.
Farr J., ‘Locke, Natural Law, and New World Slavery’, Political Theory. 2008.
Israel, Enlightenment Contested: Philosophy, Modernity, and the Emancipation of Man, 1670-1752 (Oxford, 2006).

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Bowie: The Man Who Changed the World (2016)

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Bowie: The Man Who Changed the World (2016)

1h 25min | Documentary, Biography, Music | 9 May 2016 (UK)
 
Genres: Documentary
Director: Sonia Anderson
Starring: David Bowie, Lawrence Myers, Paul Nicholas
Supporting actors: Dana Gillespie, Mary Finnigan, ‘Whispering’ Bob Harris, Clive Langer, Chris Sullivan, Breege Collins, Angie Bowie
Studio: Under The Milky Way
 
 
There are things to like in this documentary. It offers some of insight into a very complex, multi-faceted and creatively restless man. A man stimulated by new ideas and experiences. It features interviews with Bowie himself and people who knew him (if you ever could!). The documentary is fascinating because the subject never ceased to amaze, entertain and, at times, baffle us.
 
Bowie was a versatile innovator who had a huge impact on popular culture. Everyone saw the waves emananting from what he did but Bowie the man was a mystery. This documentary doesn’t solve that mystery but the interviews do give us some glimpses of the character behind the creativity.
 
For me the most interesting part was the first part dealing with his early life. Both Dana Gillespie and Mary Finnigan paint a bleak picture of his homelife.
 
Mary Finnigan says of Bowie’s mother “she was very stiff, very starchy, you had no chance of getting to know her properly, very reserved”.
 
Dana Gillespie speaks of visit to his home – “a cold house” “it was like walking around with cement blocks on your shoulders” and reveals Bowie said “Whatever it takes I want to get out of this place. I never want to grow up here”.
 
The rest really charts his escape to and triumph in a different world. There are some great Bowie moments. The 1976 interview with Russell Harty is very funny. Harty tries sarcasm on Bowie but he more than meets his match. The interviews with close friends and business associates can be informative. I had no idea that when he was broke he auditioned for the musical Hair! or how hands on he was on different aspects of his stage productions like lighting.
 
There is some great information in this documentary but it does jump around in terms of timeline and isn’t well structured. The images don’t always match the story being told and some are overused. My other big criticism is the complete lack of Bowie music which I’m guessing was down to not reaching agreement with the Bowie estate.
 
I saw this on Netflix so if you’re on there check it out. Would I buy it if I wasn’t on Netflix? On balance yes because, as a Bowie fan, despite my criticisms, it is worth watching.
 
Reviewed by Pat Harrington

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 Sicario 2: Soldado (2018) 

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Josh Brolin in Sicario 2: Soldado. Photograph: Allstar/Columbia Pictures

Sicario: Day of the Soldado (original title)
15 | 2h 2min | Action, Crime, Drama | 29 June 2018 (UK)
Director: Stefano Sollima
Writer: Taylor Sheridan 
Starring
Benicio Del Toro, Josh Brolin, Isabela Moner, Catherine Keener, Jeffrey Donovan, Elijah Rodriguez, Manuel Garcia-Rulfo, Matthew Modine, Shea Whigham

Sicario 2 is a bleak film. It breathes hopelessness. The subject matter is the failed U.S. war against the Mexican drug cartels as in Sicario 1. The Spanish word “sicario,” means hit man or contract killer. It’s difficult to know if the government agents or the cartel gangsters are being referenced. Perhaps it describes both. In Sicario 2 what few rules there were have been torn up as the drug cartels have smuggled ISIS terrorists over the border. One kills himself and takes out members of a US border patrol and another makes it across to take part in a bomb attack on a crowded supermarket.

US secretary of defense (Matthew Modine) orders a dirty war. The man for the job is obvious – Matt Graver (Josh Brolin). He has few moral qualms and likes to get the job done. Matt has a plan – divide and rule. He wants to get the cartels fighting each other and plans murder and kidnapping to provoke that. Alejandro Gillick (Benicio Del Toro), a US black-ops ally with a grudge against the cartels is reactivated to help.

The main part of the story centres on the kidnapping by the US black-ops team of Isabel Reyes, played by Moner (the daughter of a Cartel leader) and the fall-out from that. Another story that intersects concerns another teenager Miguel Hernandez (Elijah Rodriguez), a Mexican-American boy with a family on both sides of the border who joins a gang of human traffickers. Sicario 2 emphasises the profitability of human trafficking and the cartels involvement. This depiction of crime, terrorism and migration has proved uncomfortable for some in the US as it may resonate with those who want to build a wall to keep people out!

There aren’t any conventional heroes in Sicario 2. It’s clear that this war will go on and on with brutal inhumanity the norm on both sides. This is underscored by the score by Hildur Gudnadottir. It’s relentless and fills you with dread and foreboding. The Beast from Sicario (2015), written and Performed by Jóhann Jóhannsson, is played over and over again.

The ending was unconvincing and out of keeping with the tone of the Movie and the likely actions of those inhabiting this shady, amoral world. Far happier than I expected though still depressing!

Reviewed by Pat Harrington

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­Who I am

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The following article first appeared as the ‘Foreword’ for:

Who Are You: Philosophy, Physics, and Eastern Mysticism (Paperback – January 5, 2018): Chandran Tattvaraj

It is re-published here with the author’s consent. The original title was ‘Who I am’ and we have reverted to that here.

Who I Am

How long have we been questioning who and what we are; where we’ve come from and where we’re going? Perhaps throughout our existence we have questioned the very notion of ‘self’. Ideas of this self are there to read in Eastern religious and philosophical writing, and in the West, was philosophically enshrined with Descartes: I think therefore I am. But long, long before Descartes, religious philosophers had contemplated the nature of the ‘self’ and within the self – the ‘soul’…that there was (is) something intrinsic to us that also seems to be apart from ‘us’ – a part and apart simultaneously.

When I was a child I was fascinated by two mirrors placed near opposite each other in the family’s bathroom. The reflected images disappeared into infinity and thus timelessness. Maybe this triggered in my developing mind an idea of eternity…and an idea of an alternative reality – for I could see many ‘me’s seemingly projected into the future and into a kind of reflected past. As I recall now I can see/feel myself wishing to step into those multiple ‘other worlds’. Ten years later or so, on one of the few occasions I took LSD, I was aware of passages within the space, the air, surrounding me…Had I the wherewithal, I could have turned into these passages, or corridors and entered a world normally hidden from (or by) my ‘normal’ perception.

In medieval time in England it was thought there was a powerful connection between things and the names of those things. That everything naturally had a name that was somehow bestowed and fixed. The bond between this name and the thing was irrevocable. Now we think: a rose by any other name would smell as sweet. But we live in and are trapped by our language and thought. The self and our idea of who we are comes to fruition along with understanding both the concept of self-hood and our gradual understanding of our-selves – a paradox from birth that develops and changes through time. We physically and mentally grow into ‘being’. We slowly join the unfolding narrative of the world. As unfolding selves we receive and are affected by the scientific, cultural, religious, fairy-tale narratives of the ‘main characters’. They tell us who we are, what to do, how to behave and what to think. We are seeds scattered into the ground…healthy or rocky.

We are born into a world that seems locked into time and space…a concrete world of ‘reality’. And we are given the ability to perceive this world through our senses in a consensual manner. But is there an ‘out there’ a ‘world’ that exists extraneously to our mind’s perception? Our brain collapses the ‘out there’ (the waves and particles of light photons) into the world we live in and deem ‘real’. Of course in one sense it is so very real…run a blade across your skin and you’ll feel pain and see blood flowing. But the mind that perceives and ‘holds’ our thoughts…the thoughts that perceive the world we grow into has no definite location (there are areas of the brain that correspond to certain elements of the mind…but under given circumstances these can be changed and/or re-routed) – and further, the thoughts themselves have no location or indeed space. You cannot grasp a thought and though it may re-appear as a memory in the ‘future’ its existence feels completely ‘out of time’. Yes we seem to experience the passing of time (and we can look into a mirror or view old photographs to verify this) but that too is seemingly an illusion. But. Let me state, this illusion and all that the brain creates is a necessity for us to exist in this illusory world. No wonder we have constantly asked those enduring questions and the shortest and the most effective and relevant being: Why?

What kind of trick has been played upon us frail humans…and even beyond this trick there being dealt a false trump card – a card that has given us the desire and need to discover who and what we are and where we are, where we are going and ultimately if we were created by some unknown supreme being. We frail humans given cards of nobility and poetry but also fear and violence. Each is dealt his hand…by chance, by providence, through DNA?

I think therefore I am – yet I am aware that I am thinking – therefore I am ‘we’ – both the thinker and the observer. And because I think in English: I think therefore I am English and all that I am aware of through this inherited language. And everything I think comes from where? I think therefore it is I that think. Or: I think unbidden thoughts therefore I am me and something ‘other’? We seem to be a paradox. That’s the nature of the trick.

When we dream – who is it that dreams? Who is it in the dreams? Who creates the dreams and sets the play in motion?

For many people it is enough to live and die – to work and play…some struggle some seem gifted by ‘fate’. Some folk give their lives to ideas and some are tortured and killed for having these, or indeed contrary, ideas. That is how strongly we are caught in our language, in our being. O I truly admire those who have died and suffered in the name of beauty or truth or spirit. But how odd it all seems too. That some men should dictate to others how they might feel, think, believe, say, write and act. When nothing is, indeed, quite how we think it is. The ancient Eastern religions understood this and now modern ‘cutting-edge’ science seems to be verifying these ancient beliefs. There’s more to us perhaps than even we thought.

If this life is a trick, a game…whose rules are we playing to? Is there a reason for us to be here. What is our true nature. There is the argument that we are ‘one’ (non-dual) and that we exist without time and matter. An idea that we are drops of the ocean or fragments of a hologram – all belonging and connected to the whole. In this sense we have been tricked into an earthly state of division and unique personality. When I talk with people about this there comes the idea of ‘re-birth’ (reincarnation) and that our mission, if you will, is to ‘escape’ from captivity of the flesh. That our essence is something beyond and eventually apart from who we are (or who we think we are). On the one hand I see the logic and even justice to this and on the other hand I see cruelty and lack of justice. Most of us are destined to relate as the ‘I’ – and we create our life story correspondingly. The idea of re-birth seems to be the loss of each personality (but maintenance of the ‘spirit’). Who we are is annihilated – and yet some part of ‘us’ carries on. Is this the ‘divine spark’ the droplet of the divine ocean. But if there is no connection between that droplet and my perception of ‘me’ – why would/should I care? Are ‘we’ but fading dreams of another?

How cruel to birth us into this material world with senses to experience it – and to feel its love, hate, warmth, cold, benevolence and cruelty and yet also be locked within a ‘secret’. This secret being that we are NOT truly part of this earth and that we must – through lifetimes of repeated existence – find a way off and out of this material plane! Were I the playwright of such a play I might congratulate myself on its playful and clever conceit. But discovering one is but a fictional character with no life beyond the page…well…I might feel somewhat misused. Especially as my appearance on the stage is so brief and apparently futile.

My father used to say to me: There is only one thing worse than dying for ever and that is living for ever. Here is the great conundrum. This conundrum seems rarely to be challenged. Is there any connection between this earthly existence (the test) and the existence ‘as one’ (connected to all and everything and perhaps The Godhead) beyond time, space and matter? There certainly seems much credible (and incredible!) evidence for existence beyond this life but the nature of that also seems poorly transmitted. It maybe that we enter a lighter consensual reality, amidst others we relate to…a more spiritual place (for some) but dark and heavy for others…who perhaps maintain much of their earthly existence. Maybe we’re being given spurious information as but yet a further test?

The nearest I get to understanding another life beyond the mystical glances sometimes obtained in the beauty of nature…or through music or a piece of sublime literature or art is within my dreamscapes. In dreams it seems as if there is a natural narrative…everything ‘makes sense’…it is us and we comprehend our seemingly natural environment. It’s only on waking that our dreams might seem very strange. And then they begin to fade despite our best efforts to resurrect them or keep the narrative going. It’s like reading a story and the last few pages have been ripped out. Dreams make sense even when nonsense. It really is another reality. It is REAL or as real as this reality. Only waking from a dream does it seem odd or different. Of course there are those who can hop in and out of dream-states and even travel beyond into the astral realms. Or somewhere. Another avenue of reality? A place where our conscious mind (and/or spirit) goes on death? Do dreams offer an insight into the connection between this world and the ‘other’?

These days we can slip into virtual reality. A time seems fast approaching when being in virtual reality might be as common as falling asleep and dreaming. Though we might become masters of our movement in VR land it is not a ‘consensual reality’ but rather a reality created by both humans and machines. I can imagine all sorts of wonderful experiences and the most frightening too. In a future world, grossly over-populated we might enter VR to see, smell and experience nature. But who knows what might have been designed to roam through those lands too. VR certainly can but make us consider what THIS reality is. Like self-induced other realities it will be ‘real’ at the time of experiencing. The mind can be fooled and sometimes quite easily. And the mind can be manipulated too. If we create a VR that transforms the human experience are we creating a VR within a VR. If we can create effective virtual reality who’s to say THIS life isn’t a ‘virtual reality’!

Were we created in God’s (or The Great Creator’s) image? If so – what a disappointment we must have been and still are. I immediately think of us the ‘sons and daughters of God’ creating our own reflections – ‘Artificial Intelligence’ and Robots. Here again the whole notion of consciousness might be forced vehemently into our collective consciousness. The idea – say – that consciousness is received by humans (and not self-created) seems interesting in that the future might see robots obtain their own consciousness. If the reaction to this is – never!…well, that would mean that only the human organic brain (or an animal’s?) can tune into radiating, and yet personal, consciousness. Consciousness is also said to be whole (oneness) but if we receive consciousness we do so in personalised packages. Are we bundled up and packaged pre-birth? If it is the will of the sender that determines who and/or what receives consciousness then why not robots? At the moment robots are fairly ‘primitive’ and yet there has already been a case of robots creating their own language. If humans did come from apes and were subsequently to receive the consciousness we have now – then why not highly sophisticated robots? Of course all this is but scratching the surface. But as an aside there have been experiments with humans where simple choices have been offered (left/right on/off) and their brain reactions monitored. These experiments seem to show quite large gaps between the brain deciding what to do and consciousness deciding what to do! In other words our consciousness (decisions seemingly made in the ‘present’) lagged behind the actual brain decision by seconds. This would mean our ‘present’ is in an eternal ‘past’. Not only that of course but it would suggest all is mapped out and we’re here just for the ride…though we have been tricked (once again) into thinking we are masters of our own fate. Maybe robots of the future though highly evolved will always lag behind their programming? Maybe robots will feel tricked.

If we are beyond time, space and matter (the soul nature) then again we have been tricked into believing we have a beginning and an end. And yet the beginning is hazy and comes together through our perception of time and self and unfolds in retrospection. Most of our perception of ourselves is retrospective. There is also the sense of deja vu (or deja vecu) that haunts us…Do we re-live our life over and over – and if so for what purpose? The world we live in seems to have constant birth and rebirth – as in Nature. Yet we and our surroundings SEEM to be eternal. Others may die (like a leaf/flower/cow/dog or even fellow human) but surely not us. The Sun will one day burn out but can we (do we) perceive of Earth’s ending? And the universe in which we live perhaps has no boundaries and ‘just is’. Like puppets we gaze up into the sky at night, our strings lost into the blackness…Our helplessness and lack of understanding is full of pathos. Why were we tricked so?

What is the antidote to our existence in this world that both is and isn’t? For me it is the art and act of creation. If all was created by The Great Creator – the original creative act – then being creative is truly a spark of godliness. Life can be cold, hard and cruel but we have shown throughout our time on this earth that we can rise above hardship and persecution, above torture and even walk to the gallows with our heads held high. There is something in us that is greater than ourselves.
My own philosophy of life and death draws on the ideas and communications of others (both alive, dead and perhaps beyond the ‘veil’). At death our consciousness/spirit travels on and alights at another place of consensual reality. In this place we flock together with like minds – some others are drawn to the heavy earthly states – some are light and finely tuned. Thus we begin the next stage of our journey. Perhaps this journey involves the ‘release of ourselves’ – the ‘release of attachments’…though we continue to learn we also learn to give up. Gradually we will indeed become ‘one’ – leaving the unique self behind. By becoming ‘one’ we will no longer be aware of time, space or matter…we will no longer fear the loss of ourselves and loved ones…as we will be melded into a greater and all-encompassing love. As I write these words I feel panic…I am attached to the poetic in this life and the connection to others. But being melded with love and being ‘one’ will not – I trust – mean the loss of anyone or anything but rather the gaining of a higher connection and higher ‘love’. Poets, mystics, philosophers, religious thinkers and perhaps even each one of us has at rare times had an in-sight into the greater-ness that we are normally so unaware of. Maybe we’ll get to comprehend the ‘Great Trick’ that has been played on us – maybe we’ll laugh out loud and understand the very true nature of who we are and what we are for. In the meantime we can but dream…we’ll continue viewing the stars above and continue making enquiry. And we’ll continue asking: Who am I?

I hope and trust you will enjoy the essays that follow…and that you might step back from this stage for a while and view from the wings…view the actors so caught up emotionally in the play. Maybe you’ll catch a glance of the playwright him/her/it self viewing from the balcony and maybe you’ll catch a wry smile on that playwright’s face. After all, the playwright knows the trick that’s been played all along. And we are but the stuff that dreams are made on.

Tim Bragg (copyright 2018).

 

 

 

 

 

 

 

 

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Love, Simon (2018)

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Love, Simon is a ground-breaking film aimed at a mainstream audience

PG-13 | 1h 49min | Comedy, Drama, Romance | 16 March 2018 (USA)
Director: Greg Berlanti
Writers: Elizabeth Berger (screenplay by), Isaac Aptaker (screenplay by) |
Stars: Nick Robinson, Jennifer Garner, Josh Duhamel

Simon Spier (Nick Robinson) is a 17-year old with a secret. Simon has “a perfectly normal life” in all ways but one: Simon is gay. The emphasis should be more on the perfect thant the normal in that last phrase though! His parents (played by Josh Duhamel and Jennifer Garner)are a loving, understanding couple and he even gets on well with his Sister! Problems that many teenagers grapple with are absent from this film.

This does enable the film to focus on the central theme but it is at the expense of realism. Love, Simon has one scene where Simon imagines a college life which includes highly choreographed group dancing to a gay anthem. The rest of the film isn’t so divorced from reality but it isn’t too far off.

Love, Simon isn’t gritty. It’s very vanilla, family-friendly and a PG-13. Warning: There is gay kissing but nothing beyond that! There isn’t much depiction of straight sex either! Everyone is fairly well-behaved!

Don’t get me wrong though, the film is entertaining and well written. It engages your interest in the central mystery very well. Simon sees a posting on a school gossip forum from another student ‘Blue’ who says he is gay but nervous about ‘coming out’ openly. Simon spends much of the movie trying to figure out who this might be. The audience is carefully kept in the dark with Blue’s postings being read by different voices throughout the film, depending on who Simon suspects he might be at a particular point.

There are also some great supporting roles. I found the vice-principal (Tony Hale) very funny, the drama teacher (Natasha Rothwell) engaging and out-and-proud classmate Ethan (Clark Moore) a good counterpoint to Simon.

At heart Love, Simon is a rom-com. I went with my daughter to see it at a special screening and I think that the main audience for it will actually be teenage girls.The film may be criticised for it not confronting issues of homophobia head-on but it’s not that kind of movie – it isn’t dark and it’s aiming at communicating to a mainstream audience. It’s a groundbreaking film which deals with an important issue. It’s better than a lot of teenage films of the same genre as it has good humour, a clear plot and does make you think about how difficult it could be for a teenager dealing with their sexuality in a society which can still be unaccepting of difference.

Editorial note: Love, Simon is based on Becky Albertalli’s 2015 novel was called Simon vs. the Homo Sapiens Agenda.

Reviewed by Pat Harrington

 

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Darkest Hour (2017)

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Hitler is at the height of his power in 1940. His forces are pushing aside opposition in France and Belgium and the British are retreating. An invasion of Britain is a real possibility. It’s not just the ‘other side’ the new wartime leader Winston Churchill has to worry about either. Chamberlain (Ronald Pickup) and Halifax (Stephen Dillane), think that the best hope is a deal with the Nazis and and are plotting (seemingly with some approval from the King, George VI, at least at first) to undermine Churchill’s cabinet.

Churchill is the hero of this film and his many faults are downplayed. There is reference to his poor judgment and Galipolli and we do get a taste of his ruthless streak when he sacrifices troops like disposable pawns.

His extreme political views on certain topics are not referenced. As far on as 1937, then aged 62, he justified mass genocide of indigenous peoples on the grounds of white supremacy, announcing to the Palestinian Royal Commission: “I do not admit […] that a great wrong has been done to the Red Indians of America or the black people of Australia.

“I do not admit that a wrong has been done to these people by the fact that a stronger race, a higher-grade race, a more worldly-wise race, to put it that way, has come in and taken their place.”

That was nothing new for Churchill. In December 1910, aged 36, Churchill wrote to prime minister Herbert Asquith warning of the “unnatural and increasingly rapid growth of the feeble-minded and insane classes” (general terms then used to describe the mentally ill and impaired).

Their rapid growth, he asserted, together with the “steady restriction [of the] thrifty, energetic and superior stocks” (folks like himself, of course), constituted “a national and race danger which it is impossible to exaggerate.”

He argued that they should be “sterilised” or “segregated under proper conditions so that their curse died with them and was not transmitted to future generations.”

As home secretary in 1911 he brought the artillery on to the streets of east London in a somewhat onesided battle to deal with Latvian anarchists in the siege of Sydney Street.

In 1910 he ordered the military into Tonypandy to support local police and authorities in quelling disorder and the strikes of the miners.

When Iraqis and Kurds revolted against British rule in northern Iraq in 1920, Churchill, then secretary of state at the War Office, said: “I do not understand the squeamishness about the use of gas. I am strongly in favour of using poison gas against uncivilised tribes. It would spread a lively terror.”

In the 1926 General Strike Churchill edited the government’s newspaper, the British Gazette, and used it to put forward his anti-union and anti-Labour views.

Before the War he even had a good opinion of Fascism and Hitler.

He wrote to Mussolini: “What a man! I have lost my heart! […] Fascism has rendered a service to the entire world […] If I were Italian, I am sure I would have been with you entirely.”

As late as 1935 he wrote of Hitler: “If our country were defeated, I hope we should find a champion as indomitable to restore our courage and lead us back to our place among the nations.”

In 1943, a famine broke out in Bengal and up to three million people starved to death. He bluntly refused any aid, raging that it was the Indians’ own fault for “breeding like rabbits.”

Of course these views, which jar with our values today, were far from unusual at the time. The past is another country. That’s not to say that there were not many even then who would have had an opposed view. There were. Let’s hope that some of those who go to see the film take a closer look at the history behind it.

He was certainly a bastard but to use the Sumner Welles phrase he was “our bastard” – at least during the War. He is described as the one UK politician who frightened Hitler and, perhaps, that is true. He was also, in my view, right on the likely outcome of appeasement.

The film does present Churchill as the contradiction he was. This is brought out in scenes with his long-suffering wife Clemmie (Dame Kristin Ann Scott Thomas) and family as well as scenes with his secretary, Elizabeth Layton (Lily James).

An underlying theme of the film is the power of language and the importance of oratory. There are many scenes where we see Churchill mobilise the English language and send it to war (as Halifax puts it). Oldman’s Golden Globe-winning performance is forceful and effective and Churchill’s speeches have lost nothing of their persuasive and stirring qualities through his delivery.

Reviewed by Pat Harrington

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Three Billboards Outside Ebbing, Missouri (2017)

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15 | 1h 55min | | 12 January 2018 (UK)

This is a dark film dealing with big issues.
Mildred Hayes (Frances McDonagh) is a mother whose daughter was raped and murdered.
One year on and the police have made no progress and have no leads.
She hires three billboards to call out the police and the popular Chief Willoughby (Woody Harrelson) on their inability to catch the killer. Mildred is forthright in her views telling the local news channel: “My daughter Angela was murdered 7 months ago, it seems to me the police department is too busy torturing black folk to solve actual crimes.” She’s a tough woman with a fractured heart and she is angry. Very, very, angry.
You can feel the pain emanating from Mildred. We aren’t invited to sympathise with her, but you can’t help but understand the pain she is enduring and understand the drive she has for revenge, not just on the unknown killer, but on the community and institutions that don’t seem to care. That’s the root of her decision to hire the billboards.
This act has many consequences and shines a light on the divisions, hypocrisy and narrow mindedness of the small community. Most of the community don’t like the billboards and want Mildred to shut-up. They try to pressure and bully her into taking the boards down. They also put pressure on the agency that hired her the boards.
The local police are an unlovely bunch. Their Chief says that if he sacked all the racist cops in his force he’d have a handful left and they would all hate “fags”. One of these racist Cops, Dixon (Sam Rockwell), does all in his power to disrupt the billboard campaign and his violence and crude hatred are difficult to stomach. As his character develops, however, you start to have some sympathy with him for what has made him what he is and the fact that he is strong enough to begin to change. The way Dixon is developed shows how nuanced the film is.
Mildred comes over as one determined lady. She has suffered domestic abuse, the death of her daughter and virtually a whole town that hates her. Her allies, like her, aren’t at the centre of the community, they have little power and are marginalised and ill-treated.
There’s a lot of profanity in this film and the violence is raw but it is a story that is telling a truth.
There are excellent performances from the cast, and the film picked up four Golden Globe awards including Best Picture, Best Screenplay, Best Actress and Best Supporting Actor.
It also has an evocative American based soundtrack.

 

Reviewed by Pat Harrington

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The Last Jedi (2017)

WARNING – MAY CONTAIN SPOILERS

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Some have seen symbolism of a wider view of The Force in this poster

This film was great. Audiences seem to have liked it too. It received a Cinemascore of “A,” exactly the same as The Force Awakens and Rogue One, and its average rating from moviegoers surveyed by Comscore was five out of five stars. In its opening weekend alone it grossed $220,009,584. Worldwide it has grossed $892,107,89 so far. I was surprised, therefore, at some of the hostile reactions to it online. What may lie behind that says more about our society than the film.

Dave Schilling points out at Birth Movies Death The Last Jedi can be seen as a metaphorical depiction of the baby boomer generation (a generation that featured a lot of white men — good and bad — in positions of power) handing off leadership roles to younger generations, particularly millennials, who tend to be more racially diverse and to advocate having more women in positions of power. The good guys are a young white woman, a black man, a woman of Asian descent, and a Latino man, while the bad guys are two white men.

Of course there are many other criticims relating to the plot itself. To give one example, Finn and Rose’s journey to the casino planet of Canto Bight is seen by some as an unnecessary diversion from the main plot. It’s certainly something you can make a case for although I take a different view. To me the corruption of Canto Bight (whose wealth is based on selling armanents to both The First Order and The Resistance) is clearly intended to provide the moral core – the contrast between the Jedi and everyone else (including the Rebels, to a degree). Perhaps that needs restating because of the suggestion that Skywalker wants to create something new embracing both the light and the dark (embracing “a larger view of the Force”). Some have even seen a symbolism of this in the first poster. Here it is depicted by Luke’s face (light side) on one side, Kylo Ren’s (dark side) on the other, with Rey in the middle separating the two and her lightsaber going from blue to red. Or so some say! So, I don’t see the visit to Canto Bight as a diversion but a small part of the film that helps you understand the rest.

This is a good movie which has a substance to it that makes you think. The action scenes are great, particularly the space battles between the bad guys and The Resistance. The fight scenes are also worthy of mention, particularly the Throne Room scene.

It was great to see Carrie Fisher (Princess Leia) again, sadly in her last role and, of course, Mark Hamil (Luke Skywalker) as a sullen, bearded recluse who has lost faith in the Jedi. Both provoked suprisingly emotional reactions in me. Real sadness in the case of Leia and disappointment, at least at first, in Skywalker.

My major criticism of the film is that the Dark Side of the Force was just not Dark enough! That’s probably, partly, because the likes of Darth Vader and Emperor Palpatine/Darth Sidious are such tough acts to follow. It’s also because Kylo Ren (Adam Driver) is just too clean-cut and boyish to convince as a villain. I guess I expect my villains to be more rugged!The most interesting thing about Kylo Ren is his ambivalence toward the Light and Dark, the Sith and Jedi. In both The Force Awakens and The Last Jedi we see that. Is that fully milked as a theme. In The Last Jedi it seems that Rey could win him over but I don’t think the turmoil in Kylo was ever fully developed as a theme. There was just not enough tension.

Still, despite any flaws, this is a great film with and ensemble cast (special mention of Rey (Daisy Ridley) and Vice-Admiral Amilyn Holdo (Laura Dern).

Reviewed by Pat Harrington

Cast and Crew

Director: Rian Johnson
Writer: Rian Johnson
Actors: Mark Hamill
Carrie Fisher
Adam Driver
Daisy Ridley
John Boyega
Oscar Isaac
Lupita Nyong’o
Andy Serkis
Domhnall Gleeson
Anthony Daniels
Laura Dern
Benicio Del Toro
Peter Mayhew
Producers: Kathleen Kennedy, Ram Bergman
Composer: John Williams

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