Festes San Sebastia - Palma de Mallorca

Every January the city of Palma celebrates the Festes de Sant Sebastia. On 20 January 1524, Sebastian was named patron saint of Palma, and around this date the city comes alive with music, sports, theatre, processions and of course, the famous fiestas.

Saint Sebastian was a Christian saint and martyr; his death by the Romans around the year 288. Sebastian is usually depicted in art and literature tied to a post and run through with arrows. Legend has it, he did not die by the arrows, but was later simply clubbed to death. 

La Seu

Sebastian is also associated with the Black Death that decimated old Europe. During the 14th century, the random nature of infection in villages caused people to liken the plague to being shot by an army of archers. By association, and in desperation, villagers prayed for intercession of a saint associated with archers, which was Saint Sebastian. He was declared patron of plague sufferers of his reported cures of those afflicted with many diseases. He is also patron saint of athletes because of his physical endurance, and patron saint to all soldiers.

This nine day long Festes de Sebastia marks the end of a devastating plague which, as legend has it, ended when the relics of Saint Sebastian were brought to Palma.

During January Palma is transformed, with an endless list of activities catering for every facet of society. Theatre, cultural excursions, exhibitions, sport, charity events, social and religious organisations, political parties and music of every description takes to the streets at some point. A highlight is a midweek celebration of music and communal barbecues where ten sound stages are erected in Palma's many plazas, effectively turning the city centre into an open-ended music festival. As expected, celebrations continue well into the early hours. 

The festival finale or aTIAr FOC takes place along the Palma waterfront, in the shadow of Palma's iconic La Seu Cathedral. The city centre is closed off to vehicles, with the Correfoc, processions of the Dimonis and Marxa de Besties taking thousands of spectators to an almighty climax of fire and noise.

The Correfoc refers to 'fire-runs', a practice common to the fiestas of Catalunya. Hundreds of individuals dress as devils, or dimonis, setting off fireworks into the crowds of spectators. This is an interactive event, with spectators deliberately running at the dimonis, effectively courting the advances of the fireworks.

The 'dancing with the devils' represents a ceremonial rite of purification, and therefore has much symbolism. Fire represents the cleansing of sin and warding off of evil spirits. Similarly fire has long represented abundance, purity and fertility throughout human history. Running at the fire for many also affirms a standing up to fears and oppression, whether religious, spiritual or political. The Correfoc in many ways was reborn in the late 70's due to the end of Franco's dictatorship, that for so long suppressed cultural traditions in Catalunya. 

The Marxa de Besties (or bestiari) are figures representing fantastic beasts. Many are connected to the area from where they originate, while others the product of vivid human imagination. The dragon (drac) is the most common, while others include the eagle (àliga), the female mule (mulassa) the ox (bou) and the female dragon (víbria). As with the Dimonis, the Besties are loaded with fireworks, with a similar running at spectators lining the procession route. 

Active participation in the Correfoc is a primal experience.

The only way to truly appreciate the Correfoc is to get involved and run with the procession. Mayhem is an understatement. For the better part of an hour there is no respite from the noise of incessant tribal drumming, firecrackers exploding in close proximity in every direction without let-up, and the frantic shouting of Dimonis and spectators. Heavy sulphur-laden air makes it difficult to breathe, with visibility in the thick of it quite limited. It is surreal to the senses.

The melee of hundreds of participants and unrelenting activity requires utmost concentration, especially for the many of photographers, amateur and professional, running with the procession. It rarely stops, making for a frenetic environment; collisions are regular and just part of the experience. Thick smoke and deafening noise only fuels the confusion. Ironically, as there is so much going on simultaneously, it is very hard to stop. The immediate experience is like a drug, and once you are in the thick of it, you are hooked and keep going back for more.

I have never been in the military, but can believe that this is what it might be like in a firefight with live ammunition. Amid the chaos, there is definitely a survival instinct at play, responding to the advancing mayhem. Perhaps it is the protection of San Sebastia; or the adrenaline pushing through your body - shaking extremities, a racing pulse, rapid shallow breathing and even tunnel vision. This is the same that athletes experience after a hard and sustained sprint.

For the thrill seekers, running with the Correfoc is right up there. Run with the devils, face up to the fire and confront your fears. This is truly liberating.

For more photos see my Facebook page.

Stormtroopers in Stilettos

A couple of nights ago I had a rather crazy dream. Perhaps the nocturnal subconscious ramblings of a latent showman, I awakened convinced that I had just been on stage with the late Freddie Mercury.

You might scoff at the sight of yours truly in flares and platform shoes (which, by the way, I still deny), but a more sobering thought is that 24 November marks the death of the flamboyant Queen front-man exactly nineteen years ago.

On the back of this poignant milestone and great loss to the music world, 2011 is also cause for celebration as this marks 40 years in the industry for Queen as a band.

Formed in 1971, the influence, talent and glamour contributed by Queen to musical history does not need much further explanation.

QUEEN

Keep Yourself Alive

I have been fortunate enough to see Queen live twice in recent years, albeit with Paul Rodgers of Bad Company and Free fame on lead vocals. Original bassist John Deacon is the other notable absentee - by choice he remains retired from music and very much a recluse to all advances from the outside world with respect to Queen.

Despite the change in personnel, in both shows it was evident that the spirit of Freddie Mercury very much lives and breathes in every live performance of Queen's music. This, after all, is where Freddie did thrive as a musician and as a person.

In March 2005 my sister Lauren and I were privileged enough to see the reformed Queen + Paul Rogers at the Brixton Academy. This was a special moment as it was their very first UK show as a reformed band, falling a couple of weeks after the Nelson Mandela 46664 charity gig at Fancourt in South Africa.

With 4500 tickets available only to the media and Queen Fan Club, the gig was as high in expectation as Freddie's finest falsettos. The electricity in the air that night would surely have powered Brian May's guitar amps for the gig. For those familiar with Brixton Academy, the art deco interior is ornate and warm, with the intimacy of a 1930's cinema theatre. Our standing tickets near the front of the house were as close as one could hope for a show of this magnitude.

A tumultuous roar carried the band onto stage as they launched into the hard rocking Tie Your Mother Down, firmly setting the vibe dial to ten for the rest of the gig. The intimacy of the exchanges between the musicians was indeed something special to witness for any live music fan. The softly-spoken Brian May in many ways the antithesis of rock-hard vocalist Paul Rodgers; one can assume a very similar stage relationship with Mercury.

At a point during the show, all but May disappeared from the stage, leaving the guitarist illuminated in bright white light perched on a stool hugging a 12-string acoustic guitar. May's words at that moment will never leave me. Scanning the crowd for a few moments, his soft tone casually broke the eerie and expectant silence, as he thanked the audience for accepting Queen back onto the live stage. May continued that at this moment he could clearly see the face of every audience member, and was now convinced that “we have done the right thing”.

The flood of emotion running through the Brixton Academy that night was unlike anything I have witnessed in music. The ice-cool May, visibly shaken himself, proceeded to pay tribute to his long-absent friend and fellow musical genius by leading the few thousand before him in a unified acoustic rendition of the Mercury-penned "Love of My Life".

Queen + Paul Rodgers - Brixton Academy 2005

In retrospect my dream makes sense –  in some way with every Queen song we find ourselves on a stage with Freddie Mercury.

We Will Rock You

Queen's appeal to the public is clearly evident in the runaway success of the We Will Rock You musical. Penned as a collaboration between Ben Elton, Brian May and Roger Taylor few will argue the fact that this production is deliberately packaged for mass consumption.

As a result, the hardcore fans lament that this show detracts from the complexity and ground-breaking genius that defined Queen for the better part of two decades.

A rather weak storyline is altogether carried by the music, the aim of which is only to put overweight tourist bums on West End theatre seats. With this in mind, one could just imagine one Freddie Mercury turning in his grave at the thought of Wednesday afternoon matinees in Tottenham Court Road. This is surely not rock n' roll in the grandiose style defining Mercury. This begs the question; does Freddie's spirit live on in this work? This is debatable.

The cynicism aside, and having circumnavigated the globe since it's launch in 2002, the popularity of We Will Rock You shows no sign of letting up as it prepares for yet another tour of the UK and beyond commencing in 2011.

We Are the Champions

The original Queen line-up remains a unique animal. The unassuming calm and stability of bassist John Deacon and drummer Roger Taylor, the rhythm section and engine room of this powerhouse quartet, are in superb juxtaposition to the energised flamboyance of Mercury and layered virtuosity of guitarist Brian May. It just works.

Classically-based, Mercury's compositions are captivating and perfectly complement the driving guitar riffs of May, creating the 'rock opera' that mirrored Queen's style and performances. Anthemic and grand productions have the power to elevate every single audience member into that role on stage Mercury so powerfully executed. A front-man, attacking every song as if it were his last act on earth. In many ways it was.

Brian May's influence over the rock guitar and it's development is unchallenged. A technical maestro and virtuoso, May's sound is unmistakable and his guitar an apparent fifth band member. At the age of 16 May designed a guitar, the now iconic Red Special, which has featured throughout his playing career. According to May, the guitar is made of wood from an 18th century fireplace and has components from a bicycle, a knitting needle and an old motorcycle. This is the measure of the genius.

Mercury & May

Queen's only mistake in the eyes of the prog-rock aficionados can be that they actually did write very catchy tunes. This fact must take nothing away from the quality and complexity of Mercury and May as the primary songwriters. The role of John Deacon in the success of Queen is very much underestimated. A bassist of phenomenal technical ability, Deacon provides the perfect framework for May on lead guitar. Theirs was a true act of mutualism, two individual instrumentalists, perfectly unified, and the key to the luxuriant Queen sound. Deacon's contributions as a songwriter, rhythm guitarist and keyboardist are similarly overlooked. These are all extraordinary musicians.

Queen put intelligence into hard rock. Much like like their progressive forerunners, Pink Floyd, these musicians all boast degreed education, applying these principles and disciplines into their music.

These are four highly educated individuals – Mercury (Art and Design), Deacon (Degree in Electronics), Taylor ( Degree in Biology), and Dr Brian May CBE PhD with an honours degree and doctorate in Astrophysics.

At least they have something to fall back on.

Innuendo

Elvis Presley arrived early enough to claim the title ”King of Rock n' Roll”. It is however Freddie Mercury that lays right to the accolade as the Crown Prince of Performance. This man was, and still is, an enigma in the world of music. In every performance, Mercury never left any doubt as to where attention should be focussed. His voice, his stature, his uninhibited prancing, and his music deserved the glare of attention. In the digital age, where sound and vision is permanently on demand, Freddie Mercury is still in the eyes of the world.

Elvis took the title, but the crown and sceptre belong to Mercury.

Deserving a special mention, one Queen song defines the man - Bohemian Rhapsody. This piece of music is the embodiment of Freddie Mercury. Epic,complex and layered the musical styles morph between classical, jazz, operatic and rock overtones. These elements are alive in this exquisite composition, which today is still as fresh and ground-breaking as the first time it was heard across the airwaves on Kenny Everitt's Capital Radio in 1975.

Bohemian Rhapsody is by many definitions a self-portrait of a man at a crossroads in his life. There is change, and it has been drastic. A part of him is left behind for good, so embarking into a new life, and probably the final phase for Mercury. That said, I am no psychologist or music critic, but in this instance there is probably no need for either.

The headlines, the urban legends, and the scandals relating to Freddie Mercury go hand-in-hand with the character. The truth however, is that none of this is important. Mercury and his very capable vehicle in Queen have truly redefined rock n' roll and its performance.

Today a statue of Freddie Mercury stands beside the calm waters of lake Geneva in Switzerland. This idyllic place is a long way from the tumult and hedonism that so followed Mercury in his earthly existence.

God Save the Queen

A major exhibition celebrating Queen's 40th Anniversary year kicks off in London in early 2011. Aptly titled “Stormtroopers in Stilettos’ this is a comprehensive look into the early stages of Queen’s career.

The exhibit features the first five albums, “Queen”, “Queen II”, “Sheer Heart Attack”, “A Night At The Opera” and “A Day At The Races”. For true Queen fans, this era defines their most ground-breaking and elaborate work, and the basis of the band's longevity.

The exhibition runs at the Truman’s Brewery in London’s East End, opening on 25 February and running through to 12 March.

Next year will also see the start of filming of a major Hollywood production about Queen. Sacha Baron Cohen stars as Freddie Mercury.

Exhibition information: thanks to Purple PR, London

Slovakia : waiting to be discovered

From the archives.... 

Slovakia is benefiting from the continuing surge in low-cost air travel with the country and capital city Bratislava entering the mix of Europe’s most popular weekend playgrounds.

Land-locked in east-central Europe, Slovakia shares its borders with the Czech Republic and Austria, Poland in the north, Hungary in the south and Ukraine in the east. Formerly Czechoslovakia, the Czech and Slovak Republics parted in January 1993 with the bloodless Velvet Revolution and fall of Communism.

Situated on the banks of the famous Danube River, Bratislava is Slovakia’s political, economic and cultural capital. Lying beside Hungary and Austria, it is the only capital to border two countries. The Austrian capital Vienna is only 50km further along the Danube, making these the two closest capital cities in the world.

Like former Soviet controlled cities Prague and Budapest, Bratislava is now proving a cheap and popular tourist destination with a vibrant and emerging culture once locked behind the Iron Curtain. A typically European capital, Bratislava displays a diverse history, rich culture and progressive attitude that has recently seen the country join the European Union.

Bratislava’s cosmopolitan personality and heritage is discovered within the narrow cobbled streets of the historic town centre. The major cultural sites are within walking distance of a town square guarded by the Slovak National Theatre, and numerous churches, museums and classical buildings lining the side streets.

The most visible attraction is Bratislava Castle, towering ominously above the old city. A fortified settlement since Celtic and Roman times, the castle has witnessed all the cultural, political and religious influences the city has endured. Previous rulers represent a diversity of nations, making up the current population of Slovaks, Germans, Hungarians, Czechs and Roma People.
Bratislava’s attractions, bars and eateries all reveal a lively, relaxed and uncomplicated culture.

Beyond its capital, Slovakia offers tourists a cornucopia of activities due to a temperate climate catering for the best in both summer and winter activities. Dominated by the Carpathian Mountains in the north, the area is a Mecca for outdoor enthusiasts. Hiking, mountaineering, spelunking, water sports and skiing are all major attractions.

In winter, Slovaks invade the many ski resorts in the High Tatra Mountains forming the border with Poland. Relatively unknown to traditional European winter sports enthusiasts, the area attracts most of its visitors from Poland, the Czech Republic and CIS states including Russia and Ukraine.

The lack of English-speakers in the region is obvious. A sense of humour and capable sign language are the only way to make any sense in general communication with the locals. Orders at restaurants are trying and humorous with animated finger-pointing and nodding easily turning a vegetarian platter into rabbit stew.

In the heart of the tourist region, Liptovsky Mikulas provides a perfect base from which to explore traditional Slovak culture, architecture, sports and the outdoors. Several Ski slopes, many caves (part of an extensive range across the country), water sports, hiking trails and thermal springs are all found within easy reach of the town. A country still finding its feet economically, there is a healthy mix of old and modern Slovakia.

The main winter resorts near Liptovsky Mikulas are Jasna, and Strebske Pleso, the largest in Slovakia and site of the 1970 Alpine Skiing World Championship. A legacy of communism, resort facilities are not always as state-of-the-art as those of their wealthier neighbours in Austria or Switzerland, but the slopes provide good and popular skiing for all ages and abilities at the height of the season. Ski passes, equipment hire and lessons are all available at a fraction of the usual cost.

Slovakia is steeped in history, with many cultural and architectural sites testament to the past empires that existed in the region through the millennia. A visible legacy is the many castles (almost 200) dotted throughout the country, providing a unique look into life as far back as the eleventh century.

Most noteworthy are Bratislava Castle, and Oravsky Hrad built in 1267. Dominating a rocky outcrop above the Orava River and village of Oravsky Podzamok, the castle is the most complete example of a Slovakian castle and site of the ancient Orava Museum. Oravsky Hrad is perhaps most recognised for the role of its looming towers in Nosferatu, the 1922 film version of Bram Stoker’s Dracula.

In European terms Slovakia is an inexpensive getaway. Food and drink is cheap, with Kolibas, traditional Slovak eating houses, providing outstanding value and great food. Set up by shepherds as places of shelter for travellers, and to sell agricultural products, the Koliba provides a unique insight into Slovak hospitality and tradition through music and food.

Common Slovak dishes include halusky (potato dumplings with sheep’s-milk cheese), sauerkraut soup, fried cheeses and pork. Game meats like boar, rabbit and venison are also popular.

To wash it all down, Slovak beers are regarded among the finest -a given with 12% alcohol content. A large variety of local vodkas and distilled spirits will help to ward off the cold.

Guesthouses are a cheap and cheerful alternative out in the country, also providing a unique insight into the Slovak way of life.

Transport networks within Slovakia are regular and reliable. Tourist buses run between ski resorts and town centres, sometimes at no charge. Car hire is however recommended to take full advantage of all of Slovakia’s interesting sites.

Be aware that cars are left-hand drive and roads are notoriously slippery in icy conditions. Motor insurance is compulsory, as is travel insurance for those risking life and limb on the slopes.

The two major airports are found in Bratislava in the south and Poprad in the north. Due to its proximity, Vienna provides another viable entry route to Bratislava.

A fresh alternative to clichéd European travel, Slovakia provides a world both old and new and insight into a country and culture yet to be truly discovered.

www.slovakiatourism.sk
www.bratislava.sk
www.liptovskymikulas.sk

Published reporter.co.za

Lively Liverpool never walks alone

From the archives...International Beatles Week and Liverpool as the 2008 European Capital of Culture...

UK city gets ready for culture vulture influx in 2008

A city best known for The Beatles and its famous eponymous football club, Liverpool is on the threshold of a renaissance.

Liverpool has been named the European Capital of Culture for 2008, sparking a revival in the fortunes of a city that is earning a world class status through adversity, tragedy, determination and an unfailing Scouse sense of humour.

Once a thriving mercantile and marine centre, Liverpool took its place as Britain’s second most economically significant port. Recent times have however seen Merseyside suffer serious economic hardship due to the demise of a maritime dependence as shipyards and manufacturing industries collapsed, and the advent of sea freight containerisation.

A visible urban regeneration programme sponsored by the European Union is designed to serve 20 million visitors to Liverpool in 2008, and restore a lasting pride in the residents of a city that will see its national and international image improved forever.

Beside the numerous building sites, there already exists a rich heritage of culture, art, music and sport; all waiting to be explored long before the culture-hungry masses descend onto Merseyside in the next eighteen months.
Hard Days Nights

Catapulted from working-class obscurity into the world’s greatest entertainment sensation, The Beatles forever transformed the face of both popular music and their home town Liverpool.

Since 1983, every day and night of one week in August is dedicated to all things Beatles and anything remotely related. Two hundred and fifty thousand fans descend onto Merseyside for conventions, auctions, exhibitions, tours, interviews and an exchange of memories in celebration of modern music’s finest hour.

Over two hundred bands and solo musicians take up every available pub, street corner and park bench spreading the internationally understood language of the music of The Beatles.

The most famous site in Beatles iconography, the legendary Cavern Club, is responsible for spawning the geographically unique Merseybeat movement, and launching the careers of many more great artists including Gene Vincent and The Searchers.

Gerry and the Pacemakers earn particular significance with Liverpudlians due to their genre-defining hit Ferry Across the Mersey, and the poignant anthem You’ll Never Walk Alone which has been adopted into the psyche and terraces of Liverpool Football Club.

Now a Mecca for every Beatles fan, The Cavern Club was once almost lost to progress. Condemned in 1973 and designated as the future site of an underground railway ventilation shaft, fate thankfully stepped in to rescue this culturally significant place from a humiliating demise. After many years spent buried underground, The Cavern Club was resurrected in 1984 to become an integral part of Liverpool’s Beatles experience and live music scene with up to 40 bands taking the stage each week.

When the music stops, and all is quiet, the rumble of the railway below serves as a nostalgic reminder of the enormous power of music.

The Mathew Street Festival

Running concurrently to International Beatles Week, The Mathew Street Festival celebrates the city’s musical heritage and hope over the four days of the UK’s August public holiday weekend.

Situated in the heart of the city, Mathew Street has long served as the nerve centre for Liverpool’s vibrant night life. As expected, a host of pubs, clubs and live music venues take their place beside this street’s most celebrated resident, The Cavern Club. Mathew Street is a continuous buzz of activity as both tourists and locals move between the many venues, enjoying the sounds of buskers and resident bands, and studying the memorabilia and rich musical history on offer.

Liverpool’s musical royalty share the same passion for this festival as those starting out on their quest for the fame and adoration that still greets Merseyside’s greatest sons in The Beatles after four decades.

Europe’s largest free music festival, the 2006 event on Liverpool’s famous Pier Head waterfront included the Royal Liverpool Philharmonic Orchestra, The Lightning Seeds, The Mersey Beats and Gerry and the Pacemakers, ironically performing a few yards from the very Mersey Ferry they have etched into the memories of millions.

Published reporter.coza

Surviving London’s late night blues

From the archives....

Observations of a music journalist

A battleground for thousands of musicians pursuing their dream, London’s bustling music scene similarly provides a fiercely competitive environment for its many music journalists.

Few experiences can match the buzz of a live music gig. For the music journalist, the adrenaline-fuelled backstage vibe accentuates the passion-driven motivation and provides some unique challenges.

Music journalists are viewed with envious eyes in the bright lights of London’s competitive and diverse entertainment industry. Attending gigs, hanging about with the stars and their eclectic entourages, and privy to the rock n’ roll lifestyle is the appeal.

To the casual observer it is a glamorous never-ending party, but in reality there is much to consider in making music journalism a rewarding pastime or career.

Experience is the music journalist’s greatest ally; and none better than that earned by countless late nights and early mornings spent in the dark underbelly of London’s frenetic music scene.

As manners make man, so they make journalists. Avoid the embarrassing “I should be on the guest list” scenario prior to covering a gig, and ensure that you have the necessary permission, whether from promoters, management, the venue, or the artist.

Always identify yourself and who you represent, even if you meet the same people again. This sets those in charge at ease regarding your presence and in the noise of a bar or club, first introductions are easily lost.

Backstage is a guaranteed melee of artists, management, public relations people, promoters and technical crew, often with inflated egos in tow. Know your place; a challenging attitude will make your job even harder.

Entertainment industry folk are notoriously temperamental, and for good reason. This is their livelihood, and there exists inevitable tension when one is judged by the last performance.

Respect their wishes and demands, even if you may not agree. After all, arguing will only get you escorted out by predictably humourless minders and worse, left facing an editor crankier than ever without a story.

If an artist is not forthcoming, do not take it personally. Unless requested to move with them on their rounds, avoid chasing artists around paparazzi-style waving cameras or voice recorders about. Move on to the next opportunity. Experience knows there are many stories lurking in this environment.

Keep backstage interviews short and to the point. Stick to the facts and stay in the heat of the moment. A gig revolves around the present.

Patient determination guarantees you will soon find yourself in one-on-one situations with artists. Remember the task at hand, and realise the human aspect. These people, despite their external persona, have the same hopes, fears and interests as you and your readers. Avoid the absolute obvious questions, and similarly the pointlessly obscure.

A gig is an exclusive relationship between the artist and the audience. Never get between the two. When it comes to photographers, this is the ire of many a musician in performance.

Focus your attention all around. Know what is happening on and off stage. Crowd reactions, body language and off-stage incidents are gold in terms of your story. Many artists have their families and friends backstage making introductions and verbal exchanges a potential cornucopia of information.

When vantage points on stage are permitted, take note of the set-up, and those working around you. A stage is a dangerous place. Stage managers designate specific areas where guests and journalists may stand. Stay there. Electrical cables are evil, and have embarrassed many an incognizant journalist and muso. Unplugging the lead guitarist mid-solo will likely leave you more beaten than a bass drum.

Leave your prejudices and expectations at home. Report the facts and proceedings at hand. These often contradict what has been said or written about an artist. This applies in both a positive and negative sense, so be prepared.

Do your homework. Familiarise yourself with the artist you are covering, and understand their motivations and methods. People can be driven by many factors. Knowing this can be vital to your story.

Take in music at every opportunity. Stay abreast of trends and know who is doing the rounds musically. Do not ignore the thousands of artists paying their dues in dark, smoky, half-empty clubs each night. The “next big thing” is usually discovered by being in the right place at the right time.

Be open-minded. There is little room for those that pigeon-hole music into exclusive genres. Most artists don’t care how you classify their music, but be objective and offer the coverage it deserves.

A press pass is no free lunch; it is a responsibility. Abuse it, and it not only reflects badly on you, but also discredits your fellow professionals.

Artists and management know they need you in terms of PR and exposure, but if you mess up, there are many waiting to take your place.

Effective working relationships with artists and their management teams are built through networking. Covering a gig is often a culmination of weeks and months of work and communication.

Where artist information, interviews and music previews are offered, make use of them. This is the most valuable tool you have to establish firm bonds with artists to prove, that like them, you are committed.

Record companies spend millions promoting artists and expect suitable and timely responses from journalists. Promotional events and copies of albums, singles or DVDs are often a first introduction to new music. Requests for feedback met with professionalism cement lasting relationships with record labels and PR agencies.

A privilege of the job is receiving new music before commercial release. However, this is not a signal to set your CD burner into overdrive and cash in on favours from your mates. Unauthorised distribution is taken seriously by record companies and could give “jailhouse rock” new meaning.

Music is a high-value commodity, and yours is a position of trust. Protect it at all costs.

When approached for opinions, be honest. Stick by your principles; believe in yourself and not the hype. Nobody respects a sycophant.

Candour commands much respect in an industry where public perception is paramount.

Most importantly, never forget that it is all about the music.

Published reporter.co.za

Reclusive Pink Floyd founder member dies

On the death of Syd Barrett in July 2006...

Syd Barrett: Shine On You Crazy Diamond

Pink Floyd founding member Syd Barrett has died, aged 60. Not a member of the group since 1968, Barrett’s spirit lives on in a band and music that has changed the face of rock.

Barrett’s life was one of both celebration and tragedy. A man of phenomenal talent, he left an indelible mark on music, providing the platform from which Pink Floyd would rise to their legendary status.

A student of art and accomplished guitarist and lyricist, born Roger Keith Barrett, Syd first met fellow Pink Floyd members Roger Waters and David Gilmour during their high school years in their hometown Cambridge.

Having penned Pink Floyd’s first hits See Emily Play and Arnold Layne, and most of the debut album, Piper at the Gates of Dawn, the rapid rise to stardom would signal the beginning of a very sad end for Barrett.

The enormous pressures on a young man in the public eye, with an already fragile mind, resulted in ever-increasing erratic behaviour. Barrett’s well-documented intake of recreational drugs, and specifically LSD, would prove to be the undoing of a talent that had not near fulfilled its true potential.

Though many cite Barrett’s drug taking for his downfall, those closest to him believed that this was only a further setback in an ongoing mental breakdown. It has been speculated that he suffered from Asperger Syndrome, a form of autism.

Due to the Barrett’s unpredictable behaviour, the split from Pink Floyd became both a necessity and inevitable conclusion.

Barrett’s final days in the band would see the shell of a man staring into space on stage oblivious to the fact that he was playing through an unplugged guitar and microphone.

Driving to a subsequent gig, Barrett’s three short years in Pink Floyd came to an agonising end as the remaining band members made the simple decision not to pick him up.

Syd Barrett’s post-Floyd days had him steadily withdraw from life and rationality, and disappear into obscurity and legend. Several attempts were made to resurrect the talent that once was, but all failed to live up to the expectation.

Two solo albums, The Madcap Laughs and Barrett were commercial flops, but now enjoy cult status. Syd finally returned to his mother in Cambridge in late 1970 to live life as a virtual recluse until his death on 7 July 2006 as a result of complications due to diabetes.

Over the years journalists and fans made many attempts to coax Barrett back to the memories of his days with Pink Floyd. All failed.

Barrett’s detachment from reality and lack of understanding or interest in his once illustrious past were manifest. Always a subject of curiosity, stolen photos and anecdotes captured Barrett running errands about Cambridge, tending his garden and painting in the basement of the childhood home that was most likely the only place he felt safe for the greater part of his life.

Pink Floyd’s inability to let go of Barrett is clear in Roger Water’s personal lament titled Brain Damage, taken from the Dark Side of the Moon, a classic album questioning time, madness and death. The starkest reference and memory is a haunting fourteen-minute biography, Shine On You Crazy Diamond, during the recording of which in 1975, an overweight Barrett with shaved head and eyebrows mysteriously appeared in London’s Abbey Road studios holding a toothbrush while attempting to brush his teeth by jumping up and down.

A statement on behalf of Pink Floyd said: “The band are naturally very upset and sad to learn of Syd Barrett’s death. Syd was the guiding light of the early band line-up and leaves a legacy which continues to inspire.”

London attacks: Remembering 7 July 2005

From the archives...

Today 7 July 2006 is the first anniversary of the devastating terrorist attack on London that pointlessly claimed 52 innocent lives. As on that bright summer morning a year ago, millions of Londoners boarded their trains and buses exactly as they did on that fateful day that changed so much; and yet so little.

The memories are still vivid. That Thursday morning was like any other. My morning commute from Queens Park to Marylebone first hinted that things were amiss with the flickering of the carriage lights. Held at the platform for several minutes, the train driver mumbled usual apologies that Londoners so grudgingly accept. This selfish intent could not have imagined the horror unfolding two stops down the line and further into the city.

Exiting Marylebone station there was no sign of what would soon take hold of our attention and emotions for the days and weeks to follow. In the office loose conversations made light of a problem with the underground.

A "power surge" had caused an explosion disabling parts of the network. Totally plausible, managers accepted that staff would be coming in late by the calls from those stranded on the underground network. In some parts of the city, some would never make work again.

A typical news junkie, my first port of call was the Sky News website. The news has to be right? The office became animated with an unusually high number of mobile phones springing to life. Working in relative silence, I could not help but notice. My own mobile rang. For some reason I had not turned the phone to silent mode as per usual. The call was from my mother in Botswana.

A concerned voice asked if I had heard the news about the bomb blast in London. "Don’t be ridiculous!” was my first reaction. “It was only a power surge on the underground." I should have known better. Listen to your mother.

A disjointed conversation made realisation that my youngest sister works in Holborn, a block from the site of the bomb blast that ripped through the number 30 bus. One can imagine the fear of a parent at such a time, and thousands of miles away. I reacted like any mature adult. I panicked.

With the mobile phone networks overloaded, and switched off in areas for security reasons, repeated calls from both landline and mobile phone proved fruitless. It was frustrating and scary. All in the office were doing the same. We all had someone to worry about, or someone to let know that we ourselves were all right. I managed to contact my sister. I felt like I had won the lottery.

The extent of the atrocity slowly became clearer. Groups were huddled in front of computers searching the news in disbelief. Animation was replaced by solemnity. Was this really happening? Sadly, we all knew it would. Nothing can however describe the feeling that this was real. Flashbacks of September 11 were common. All can remember exactly where they were on that day.

The mood changed. There was genuine concern. One could feel it and see it on people’s faces. We had to account for everyone as a matter of urgency. Hastily drawn up lists provided a sense of relief as each member of the team was accounted for. A place of business had turned into a place of refuge. This day the individual mattered, not the corporation.

The streets of London in the aftermath were eerie. Bar the wailing of sirens, a normally bustling city was dead quiet. My office block is directly opposite Marylebone Station, a couple of hundred yards from the site of the second bomb blast at Edgware Road. By police instruction Marylebone Station and the surrounding streets were closed off.

Confined to the third floor we viewed proceedings on the street below. The obvious lack of movement was unsettling, made even worse by several ambulances perched on the street corners like vultures. It made one feel ill.

This attack on the innocent is cruel and pointless.

One year later the resolve against terror is greater than ever; yet fear is still a very tangible part of daily life. Iraq, Afghanistan and Palestine still remain quagmires of divisiveness and death; their stability remaining a far-fetched ideal in many eyes.

Questions still remain. How is it that four men, born, raised and educated in Britain could turn on their own so ruthlessly? What motivates such drastic action in a country where social and political representation, and discussion, is within the reach of every individual?

Is the Nirvana that these suicide bombers seek the fuelling of growing division between nations, people and religion?

Communities, religions and governments all have to take a long look inwards, stop pointing fingers and start asking the right questions.

People died at the hands of extremists, in the name of causes these perpetrators have only further marginalised. Terrorists resort to killing the innocent without prejudice because of their self-imposed ignorance, intolerance and depravity. They worship ideals that are intellectually and morally without substance.

Terrorism creates doubt, spreads hatred and mistrust, and ultimately aims to divide. In London, and elsewhere, it will not achieve that final goal.

The IRA held London to ransom, and failed; as did Hitler’s Luftwaffe and V1 rockets in an attempt to break London’s spirit. This new breed of inhumanity is also going to fail.

This year, on July 7, Londoners use the underground as a matter of principal. They are not cowed by an extremism that uses death and destruction to prostitute warped ideals on a free world.

Today I join many who purposefully exit the underground at Edgware Road and King’s Cross, remembering those who were denied the right to do so and continue their lives as normal one year ago.

At noon we gather outside, reclaiming the streets where ambulances once waited, in the knowledge that this is our city and that it is in the greatest adversity that human spirit will always prevail.

Published EP Herald and reporter.co.za