Wednesday, November 30, 2016

Beverley Martyn's having a tough time

A couple of years back, things were going quite well for Beverley Martyn - The Guardian caught up with her and celebrating her survival after the turbulence of her life with John Martyn, and excesses you might not always associate with the folk music scene:

Though she was shocked and distressed at the time, following John's death from pneumonia in January 2009 she felt "things opened up for me again. Something changed."

The Phoenix and the Turtle, recorded with former members of Los Lobos and Counting Crows, is an affirming testament to her survival instinct. "It's been the best thing for a long time," she says. "It's good to work, it's a great way of escaping your everyday troubles. I'm enjoying this time of my life. I just turned 67, I'm still here, and I think I know who I am now." She taps the album on the table between us. "This is what I do."
It's not clear what's happened since then, but it doesn't look like the last couple of years have been kind to her.

One of her friends has shared this message on Facebook:
Dear friends of Beverley Martyn. In case you were worried about what's going on with her, she has been Sectioned for 6 months and is currently in Millview hospital in Hove. Her physical health is being neglected and is worsening. Any help with arranging access to better care would be much appreciated. Happy to pass on your messages to her and do my best to arrange contact. Thank you. "Love and Peace. Bev"

#beverleymartyn #johnmartyn #nickdrake

Please retweet, reblog etc. She wants her friends to know what's going on. I don't know who her friends are so spreading this as far and wide as possible is essential.
If you can help, or just want to send a message of support, Beverley's friend Jessica can be contacted via that Facebook link.

Kate Bush: the darling's bad; for May

Kate Bush doesn't give a lot of interviews. After the last twenty-four hours, she might figure she'll do rather fewer in future.

As part of a wide-ranging discussion with Elio Iannacci for Macleans Magazine, the conversation turned to politics - and, in particular, Hillary Clinton's inability to seize the White House. It was here that Kate uttered the words which curdled many a morning yoghurt:

We have a female prime minister here in the UK. I actually really like her and think she’s wonderful. I think it’s the best thing that’s happened to us in a long time. She’s a very intelligent woman but I don’t see much to fear. I will say it is great to have a woman in charge of the country. She’s very sensible and I think that’s a good thing at this point in time.
Now, Kate Bush talking warmly about a Tory prime minister might be disappointing, but surely at a time when we've got actual fascists about to take office space in the White House, the small mercy that she wasn't bellowing "Brexit now" and bigging up the Farage must count for something.

More importantly, if you're going to quote the reply, you should probably look at the question, too:
A track called “Waking the Witch”—which was released in 1985—was performed for Before The Dawn. You once said that the song was about “the fear of women’s power.” With regards to Hillary Clinton’s recent defeat, do you think that this fear is stronger than ever?
So when Kate was talking about not having any reason to fear, she wasn't saying from May's policies, but fear of the idea of a woman leading a nation. Her comment was about temperament and gender, not policy and manifesto.

That's still disappointing - she seems to have confused May's caught in the headlights paralysis for a softly, softly caution - but reading Twitter over the last 24 hours you might have thought that Bush had been found negotiating the sale of NHS hospitals direct to Richard Branson.

And it's possible that Kate Bush does wholeheartedly embrace the Tory government, from the strange smell leaking out of Jeremy Hunt, through the slithering of Boris Johnson, to the chums of Liam Fox. And, let's face it, she's comfortably off and clearly had a lot of piano lessons as a small child, neither of which are signifiers of dyed-in-the-wool socialism.

But this interview doesn't really give much evidence one way or the other.

The really problematic bit of the interview was this exchange:
Q: Stephen Hawking recently said the Earth only has 1,000 years left. As someone who has written about environmental issues, does that alarm you?

A: Well, nobody really knows, do they? They told Stephen Hawking he only had a year left to live and how many years ago was that? You can’t know it all. If ever there’s been somebody to hold as an icon of sheer determination and willpower, it’s that guy, let alone any of the things he’s done scientifically. I’m sure that’s his driving force, but he’s a miracle and an aspiration.
For "someone who has written about environmental issues", giving an answer which ignores the environment and instead focuses on how Stephen Hawking didn't accept a diagnosis is heartbreaking. It seems to be implying that all we need to do abotu climate change is pop over to the burning fires of Siberia, stick up a couple of motivational posters, tell the planet to believe in itself and everything will be fine.

In all the coverage of Bush's interview yesterday, BBC News came up with the oddest angle:
Bush previously wrote a song for a sketch on a 1990 episode of TV series The Comic Strip, about the former Labour Mayor of London, Ken Livingstone.

The lyrics included: "Look to the left and to the right. We need help and there's nobody in sight. Where is the man that we all need? Well tell him he's to come and rescue me. Ken is the man that we all need. Ken is the leader of the GLC."
The track also describes Livingstone as "a sex machine".
This isn't wrong, but it doesn't really make much sense in the context of something she actually said about a politician - the Ken song was a soundtrack to an imaginary Hollywood movie about the GLC and part of that framing. If you really wanted to make something relevant out of it, you might have mentioned how both the movie and the satire gleefully cast Thatcher as the villain of the piece, and the gender politics around the last female Prime Minister. But I suppose 'has she written a song about a politician' was the only box they were looking to tick.