All masked up, Liam and I jumped on the bus to Norwich to take a gander at In Memoriam by artist Luke Jerram, flapping about in Chapelfield Gardens. The installation premiered in Belgium and is now on tour across Europe. Made up of bed sheets arranged in the form of a red cross, In Memoriam is a tribute to all those health and care workers who risk their own lives caring for the sick during the COVID-19 pandemic. We meandered through the forest of sheets in grateful silence. Lest we forget.
We wear face masks when required – on public transport and elsewhere – not because we want to. No one wants to. We wear them because it helps protect us and those around us. That’s the socially responsible thing to do, the civilised thing to do. We don’t think wearing them is any more of an infringement of our civil liberties than, say, wearing a seat belt or stopping at a red light. So my message to those ignorant refuseniks who think they’re striking a blow for freedom, don’t be a twat, wear a bloody mask.
I don’t know the first thing about art. Like beauty, it’s all in the eye of the beholder. I do know a lot of old twaddle is said and written on the subject. The stuff we have hanging on our walls is there because of the stories and meanings behind the images – the emotional and sentimental value rather than the worth artistically or financially. And we certainly have nothing to declare for insurance purposes. Here’s a sample…
“Chloe the lovely donkey who has led the Palm Sunday procession from Alpington School to Yelverton Church for many years, has left the area. We would be most grateful if anyone has a donkey in the area who would be willing to fill this important job to please get in touch.”
Nextdoor, the neighbourhood hub
I’m guessing Chloe’s understudy is no longer required as tomorrow’s gig will have been cancelled just like tonight’s performance of ‘I Remember it Well’ with the incredible Judi Dench at the Bridge Theatre in London. The great dame was a surprise anniversary present from Liam. That’s pandemics for you – a monumental pain in the ass.
Apologies for yesterday’s ghost post. I pressed the wrong button – duh!
It was the calm before the storm. We flew out just before Storm Ciara barrelled across the flatlands on the Jet2 poofs and pensioners express to Gran Canaria with an all-male crew who minced up and down the aisles dishing up relentless jollity with the booze. We fitted right in and celebrated with fizz.
For our fix of winter sun this year we’d gone a bit more upmarket, staying at the Canary Garden Club, a well-appointed collection of whitewashed bungalows set in lush, beautifully-tended gardens. The sparkling pool was gorgeous though somewhat marred by the assortment of old fossils drying out in the sun. Still, it made us feel young again.
This was intended to be R&R gig and so we only ventured out once to the Yumbo Center – the epicentre of gay nightlife in Playa Del Inglés – with its trashy bars with their trashy boys flaunting their trashy bits. A likely lad emerged from the shadows and offered us Charlie, and I don’t mean my mother’s favourite fragrance from the seventies.
The gay scene has evolved down the years from the small intimate bars of my youth, partially hidden from view so as not to offend the easily offended, to cocktail cafés spilling out everywhere, in-yer-face drag shows banging out the show tunes and brash cruising establishments that do exactly what they say on the signs, and more – Sodom and Gomorrah in sequins and leather. We left it to the wide-eyed and lustful, and were in bed by midnight.
Most days we dined early and watched the sun go down over the Atlantic – just what the doctored ordered after an over-eventful year.
We arrived back at Stansted late – too late to travel back all the way to the middle of nowhere – so we’d pre-booked a budget hotel, or so I’d thought. To my surprise and total delight, Liam had upgraded us for Valentine’s. And on the train back to Norwich the next day, the guard hole-punched our tickets with a heart. Who said romance is dead?
Released in 2010, ‘Made in Dagenham’ is a gritty, evocative and warm-hearted film about the female workers at the Ford car plant in Dagenham, East London, who, in 1968, downed tools to demand equal pay for doing work of equal value. The machinists faced a barrage of patronising and often vicious opposition from every side – from the management at Ford UK, their paymasters across the pond and the Labour government of the day but also from their male co-workers and their union, run – you guessed it – by men. Evidently, solidarity only applied to the hairy-arsed blokes on the assembly line.
It was a time when a woman’s place was in the home and even those who had to work to put food on the table were routinely paid less than men because, well, they were just women, after all. Thankfully, times were a-changing. The strike was ultimately successful and led to the 1970 Equal Pay Act.
A musical adaptation followed in November 2014, opening at the Adelphi Theatre in London. It’s now doing the provincial rounds and we saw the production by the Norfolk and Norwich Operatic Society at Norwich’s handsome Theatre Royal. Am-dram it may have been but top not notch am-dram it was with sparkling vocal performances, light-footed routines and a real sixties vibe. We caught the matinee, joining the grey herd who laughed, gasped and clapped their way through a clever and often very naughty script, witty lyrics and jolly tunes. Mind you, the nice people from St John’s Ambulance were on standby with their defibrillators – just in case it all got too much.