An online notebook
I recently did what I have been meaning to do for a while, and created a Flickr set of my favourite photos (that I’ve taken). It’s a bit annoying that Flickr doesn’t give the set URLs a more human look, but there we go.
I’ll start posting photos from this set on here now and again – probably when other stuff is a bit slow. Here’s the first one, a view of the gardens at Powys Castle, and beyond:
We spent our honeymoon in Fuerteventura. I say honeymoon, but B came along too. We stayed at The Occidental Grand, a huge hotel in the middle of nowhere. A real turn-up and flop-out sort of place: just what we wanted. All the photos are on Flickr.
My first all-inclusive holiday, and I quickly learned the error of my ways when it came to the buffet meals. A couple of times to start with I indulged in my usual pile-it-high method, and came away pretty disappointed. It was then I realised that, even though there is tonnes of food about, you are actually really only meant to eat one meal at a time. Once I figured that out, it was fine.
I managed to get well covered in sunburn on the first day, and indeed my tummy was a particularly excrutiating shade of pink for most of the week.
The sea wasn’t far away, and I spent many a happy hour bobbing about, rolling around on the waves. Had a little fun allowing myself to be submerged by some of the bigger ones, but then it started hurting and wasn’t so much fun after all.
The week went far too quickly, of course, but we all had a fabulous time. Roll on the next one.
Read Alan Bennett’s Writing Home over my holiday – probably, in terms of pages, more than I have read for the entire year previously – and of course it is superb. It’s actually my second reading, the first not really counting because I was about 17, and while I enjoyed it then, it was much, much better coming at it ten years later.
This time I didn’t read it sequentially, rather I dipped in and out choosing the bits I thought most interesting first. I was usually right in my judgment, especially in leaving the bits about growing up in Leeds until last. I liked the diaries much more than I was expecting too – I think I found them long and dull as a youth – and the sections about Miss Shepherd are superb, of course.
Some thoughts:
Things have changed quite a bit on here, largely because of the change in nature of my blog, and the sort of stuff I’m writing about, as well as the fact that I am not adding as much content as I used to.
I have switched theme from my pretty heavily modded Contempt – which was a shame in a way, because I especially liked my rotating header images – to Hemingway, which displays stuff in a quite different way. It’s also cool because we are having a reading from A Farewell to Arms at the wedding! I like it, but it is going to take a bit of tweaking here and there to get it looking just how I want it. I’ve also personalised the title of the site a bit, and used one of my favourite quotes as the sub-header. It’s from Gore Vidal, by the way.
While I am talking about themes and stuff, I must pass on the Firefox theme Mostly Crystal, which is excellent!
Really looking forward to Armando Iannucci’s new show, Time Trumpet. Here’s an interview from The Independent, which is worth preserving:
Armando Iannucci: Keeper of the satirical flame
With I’m Alan Partridge and The Day Today, Armando Iannucci pioneered a brand of comedy in which TV itself was the butt of the joke. And the medium is in the firing line once more in his new show, Time Trumpet. He talked to James Rampton
Published: 31 July 2006
Armando Iannucci claims to be annoyed – although a tell-tale smile is playing across his lips. The mastermind behind such multi-award-winning comedy shows as The Thick of It, I’m Alan Partridge, Knowing Me, Knowing You, and The Day Today has just returned from a two-week holiday and is now horrified to discover that, as part of the BBC’s latest reorganisation, he appears to have been “restructured”.
“I go away for two weeks and the managers say, ‘change everything’,” splutters the leading comedy producer of his generation in mock outrage. “I now appear to be part of something called BBC Vision. What does that mean? I thought I was supposed to be making comedy shows. Still, at least we’re not part of BBC People. I understand they’re very nasty pieces of work.” Warming to his theme, he storms to his computer and calls up an incomprehensible Venn diagram “explaining” the new BBC set-up. “When you see something like this, you think, ‘I can’t cope anymore!'”
Pointing at the baffling molecular structure on his screen, the producer continues: “I have no idea what those four helicopter-landing pads mean. Why do things like this happen? Does it give some people a way of filling in their days? By the way,” he carries on, “do you think the consultants who drew these charts also draw charts about the structure of their own company, or do they get in consultants, too?
“In the end, of course,” Iannucci deadpans, “this restructuring at the BBC will lead to a far stronger raft of programming across the digital map.” Unable to keep a straight face any longer, he erupts with laughter.
This riff is typical of Iannucci – a naturally funny and irreverent man who is capable of locating comedy in the most seemingly banal areas. And yet, if truth be told, he actually has very little to complain about right now. After all, it is not every producer who is given an entire department to oversee, but here we are chatting in his spacious office, the nerve centre of “Arm’s Arm”, a wing of BBC Television Centre that is given over to the new comedy unit run by Iannucci. (You can tell it’s his domain because all the walls in the surrounding corridors are plastered with stills from The Thick Of It).