Whimsical Musings of a Loon

Last week I saw Rufus Wainwright on his Songs for Lulu tour, the new album released last month, just a few weeks after the sad death of his mother Anna McGarrigle of cancer, in January. The album itself is the most stripped bare of Rufus' works - it is simply Rufus at his piano. And yet the whole record is arguably his most complicated, intricate and emotionally textured of anything he has ever produced before. The performance was exquisite. Criticised by some as being pretentious, Rufus played the entire album in full, clapping in between songs forbidden. The usual Rufus banter was absent. No little quips of welcomes. Or face pulling. Just Rufus, his piano, and the heart-wrenching musical tale of losing his mother. Typically, the audience illustrated the amazing wide spectrum of fan-base Rufus attracts. From grannies to teens, to trendies to punks, from men wearing skirts to straight-laced middle-aged tweeds; it matters not, and everyone has a wonderful time. If solemn on this oc...

It is always a peculiar feeling going back to somewhere you spent time at as a child. It's like visiting a parallel universe, where things often look similar, but don't seem quite the same. Possibly because you are twice the size and your viewpoint has a few extra years of baggage and cynicism clouding your view. Or maybe just because things change. Last weekend I returned to Shropshire, with my family, unusual in itself for us all to be away together, but even more unorthodox in that this was a weekend of manual labour. No strolling across Ironbridge back and forth marvelling at the divets, pointing at the severn river and commenting whimsically on the currents, slurping on an ice cream whilst perusing over novelty keyrings in the shape of the Ironbridge with the words "oh the irony (bridge)". No this was manual labour. Helping out the family. We had to put fences up, and get scrammed by thick brambles. Holes are often dug on family get-togethers, but usually by insu...

The light is bright, the essence is full of promise, if but a slightly seedy one. On the busy train into Cardiff, two white-haired old ladies sit on the battered seats, their Dot Cotton house coats visible underneath their rain-macs. Tightly pursed lips, arms folded cross their robust darlek-shaped bodies, clutching their handbags as if their lives depended on it. There is a slight smell of odor de cooking-oil. "No discipline" utters one critically to the other, whilst staring directly ahead with a glare of a Terminator. "Dave says he needs to go back to the doctors for his pills". Replies the other, frowning. "They don't listen." "That'll be another bus trip." "We were brought up to listen." "John Lewis is nice." The mouths fasten shut and the two masses of old cotton-wooled hair bob up and down in complete un-agreement with each other. The train chugs along, a DJ tracked monotonous soundtrack. The light is yellow and...

A shiny chassis, you cannot tell, That all beneath is sick, unwell. Futile false that dares to flatter, It looks fine so does not matter. When too late, pretend they knew, That robots have feelings too.

Last week new photographs of the 9/11 attacks in New York were published for the first time. September 11th 2001 is a date forever etched in our minds, an infamous day where the world seemed to freeze in terror as sinister events unfolded; and yet there was a sense the world we lived in was poised to change, and not for the good. Historic events in contemporary times are often defined by the way they are recorded, the solitary photograph or short video clip has become the symbol of what occurred. The impact of 9/11 seemed so real and great, possibly because of the blanket media coverage that brought it all into our lives so vividly, swamping us. Never before had such an event been captured on so many live TV streams, photographed by so many people with access to cameras, commented on via the internet and mobile phones. A technological new century meant a technological new experience of world events. It meant a bombarding of footage, of images and the most chilling aspect of all - mobi...

Deviate outwards, of the sphere, Part inevitable, causes fear. Amble past, rows of glassy Rectangled puzzles, in their chassis. Time itself she cannot postpone, She knows that once, she'd have known. A forlorn object on the shop flaw: The old woman, in the TV store. Phosphorescent and shiny, they overwhelm, Her clockwork dark, in a cybernated realm.

Twenty four years ago this month, I was sat in the back living room of my childhood home watching the TV. It was early tea-time, just having got back from school. I was filling my ruddy pouches with ribena and crumpets. This scene wasn't a rarity, given how many hours I used to spend with my eyes attached to the screen by visual telebox adhesive, watching Australian soap operas, learning and mimicking the accents to annoy my siblings with. But what was about to happen in front of my eyes was one of my earliest and most vivid childhood memories, and one that has haunted me ever since. There came a sudden change in tone by the presenter, and the BBC kids' show Newsround - one of the main staples of my early televisual diet - appeared with breaking news. I can still hear the tinny, 1980s retro dot-dash-theme tune that sounded like it was created on a fisherprice keyboard accompanied with bongo drums. The Space Shuttle appeared on the screen. It was a familiar sight of sorts. For ...