Category: WRITING

Eire of Their Ways

By the time France’s William Gallas had nodded the ball into the net in extra-time in the second leg of the World Cup play-off against the Republic of Ireland, effectively securing his country’s passage to South Africa next summer, the debate surrounding the goal had already begun raging. Just moments earlier, the French captain Thierry Henry had used his arm twice in the build-up: first, to prevent Florent Malouda’s deep free-kick from exiting; then, to bring the ball under control, before tapping it with his foot into the path of Gallas for the defender to score with his head from two yards. As French players celebrated, the Irish protested vehemently, but in vain: neither Swedish referee Martin Hansson nor his two assistants had seen the incident and the goal stood. Having won 1-0 in the first leg in Dublin, a 1-1 draw in Paris was enough for France to qualify for the 2010 tournament with an aggregate score of 2-1. For Ireland, it was a cruel defeat which generated immediate sympathy throughout the football world.

Fans in the Stade de France and those watching around the globe instantly recognised it as a sporting controversy which would live long in the memory — a “Maradona moment”, as the BBC pundit and former Ireland international Mark Lawrenson put it, drawing an obvious comparison with the infamous “Hand of God” incident. Though while undoubtedly the most gifted player of his generation, Diego Maradona’s fisted goal in the 1986 World Cup quarter-final against England was generally seen as a piece of plucky opportunism appropriate for a man who, whether in the slums of Buenos Aires or on the football field, had fought adversity his whole life. Thierry Henry may have grown up in a difficult Parisian suburb but his image, especially in England, is one of the cultured Frenchman: a gifted purveyor of the “champagne football” championed by Arsène Wenger’s Arsenal, where he was a key player before his transfer to Barcelona in 2007. How could such an elegant professional stoop to commit such a petty crime?

It seems sports commentators and journalists often forget that when competing on grass all footballers, regardless of talent or background or moral composition, usually only have one thing on their minds. Writing in The Times, former Ireland international Tony Cascarino seemed confused that someone who “speaks so eloquently” could also be “insincere, a faker, someone who cares only about himself,” clearly refusing to believe there could be any overlap between articulacy and immorality.

Henry immediately confessed to his offence but seemed reluctant to take sole blame for the outcome. “Yes, there was a handball,” he told reporters after the game. “But I am not the referee. He did not whistle and I continued to play.” He later released a statement in which he further attempted to justify his actions. “It was an instinctive reaction to a ball that was coming extremely fast in a crowded penalty area. As a footballer you do not have the luxury of the television to slow the pace of the ball down to be able to make a conscious decision.”

France’s reaction to the incident and its effect on the game’s outcome was one of extreme discomfort, local newspaper Le Parisien even suggesting that Henry’s handball was “a decisive contribution to the recurring theme: being French is being ashamed of one’s national team.” Henry’s former Arsenal and France teammate Emmanuel Petit described a feeling of embarrassment among the French public. “We didn’t want to qualify in controversial circumstances — the handball will not send out a good message.” A staunch opposer of France’s national team coach Raymond Domenech, World Cup-winning full-back Bixente Lizarazu stated “It was not something to be proud of. I’m not going to party.” Domenech himself appeared the only person involved not to recognise the gravity of the situation. “We needed to qualify and we did that,” he said. “Victories like this one, at the end of a difficult campaign, give this side heart and soul.” Many French fans consider Domenech fortunate to still be employed by the FFF (Féderation de Football Français) following a disastrous early exit at Euro 2008 and a poor qualifying campaign for World Cup 2010.

Robbie Keane, Ireland’s captain and goalscorer on the night hinted at favouritism towards France among Europe’s footballing authorities. “They’re all probably clapping hands, [UEFA President Michel] Platini sitting up there on the phone to [FIFA President] Sepp Blatter, probably texting each other, delighted with the result.”

It was an outburst borne of anger and frustration, but one which caught the ire of the other Keane, Roy, the outspoken and hot-tempered former Irish captain, who saved his criticism for the Irish Football Association. “They can complain all they want but France are going to the World Cup — get over it,” he said. “I’d be more annoyed with my defenders and my goalkeeper than Thierry Henry. Ireland had their chances in the two games, and they never took them — it’s the usual reaction.” Keane also pointed out the fact that controversial decisions had gone in Ireland’s favour during the qualifying campaign, not least a generous penalty award against Georgia which helped them to a 2-1 win back in February: “I don’t remember the FAI after the game saying we should give them a replay.”

In 2002 Keane famously walked out on Ireland’s World Cup squad from its camp in Saipan, Japan, after a row with then-coach Mick McCarthy regarding what he felt were sub-standard training facilities. He has since then continued to criticise the FAI for its disorganization, hypocrisy, and tendency to act victimised. Certainly, the exaggerated actions taken by the FAI following the incident hardly enhanced their reputation, and any sympathy felt towards Ireland was soon undone by its own protests to FIFA. The FAI’s poorly conceived suggestions as to how this footballing injustice might be corrected ranged from naive to ludicrous; acts of desperation rather than any sporting logic.

* * *

In the aftermath of the incident, observers on both sides felt the match should be replayed. In an attempt to perhaps absolve himself from culpability, even Henry suggested it would be the “fairest solution.” But while the Irish entertained faint hopes that FIFA could still grant them a second chance at qualification, French players’ choice to side with the wounded party was deeply invested in the knowledge that such a decision had virtually no precedent in international football.

As was expected, the FAI filed a formal complaint with FIFA demanding a replay. Irish Taoiseach Brian Cowen and Minister for Justice Dermot Ahern also called upon soccer’s governing body to act on the grounds of fair play. Cowen went so far as to raise the issue with Nicolas Sarkozy at an EU summit in Brussels on November 19, a move which was handled with sympathy and diplomacy by the French President, but seen as inappropriate by the French Prime Minister François Fillon, who stated that the “Irish government should not interfere in footballing decisions.”

FIFA’s inevitable response was to reject the FAI’s request on November 20th, six days after the match, in a statement which referred to the Laws of the Game, in which “decisions are taken by the referee and these decisions are final.” The FAI expressed “deep disappointment” at FIFA’s decision, but continued their quest for justice a week later in Zurich, where an Irish delegation met with FIFA President Sepp Blatter to further discuss the matter. The FAI agreed that if the match could not be replayed, they should be allowed to enter the World Cup together with France, as an unprecedented 33rd entrant. This unexpected proposal had the backing of Bono but apparently drew laughter when Blatter brought up the suggestion at a Soccerex conference in Johannesburg.

The reasons why Ireland’s latest request would have been impossible are almost as blatantly obvious as the handball which provoked it. A World Cup requires years of logistical planning: an extra competing nation would require a complete redesign of the tournament’s structure, as fixtures and venues would have to be reconsidered. Secondly and far more serious is the effect such a decision would have on the very credibility of the competition. As Blatter pointed out, if Ireland were to be admitted, Costa Rica would have to be considered also, having been eliminated by an offside goal in their play-off with Uruguay. Which would inevitably lead to every other team who will miss out in South Africa pointing to refereeing decisions that had gone against them. The consequences of which would threaten to plunge FIFA’s system into chaos, jeopardising the entire tournament.

* * *

Some have brushed aside Henry’s handball as part of the game: an avoidable but unfortunate occurrence which hurt all teams from time to time. But this leads to a greater and more complex argument: when does an incident in football go from “part of the game” to something worthy of greater investigation? On this issue, Blatter claims “the highest crime in football is touching the ball with your hands.” But surely a foul is a foul, however committed, whether pre-calculated or instinctive. The perpetrator of a particularly violent or cynical challenge can be punished with a yellow or red card, but the opposing team is only ever awarded a free-kick (or penalty kick should the incident take place inside the box), irrespective of the nature of the offence. It has been pointed out that two French players were in offside positions as Malouda struck his free-kick. Had France scored a goal which should have been ruled “merely” offside, would Ireland have been so insistent in their protests to FIFA? The FAI’s suggestion that Henry’s handball was somehow a worse crime than any other foul committed during the match is purely mistaken — it only seemed that way because his was so blatant and directly resulted in a goal.

On a similar note, following a FIFA EGM it was announced that the governing body’s disciplinary committee would open an investigation into the Henry’s handball, with the possibility of a one-match suspension of the player taking effect at the start of the World Cup in June. This decision came after Blatter had told Henry the incident was not his fault. While some claim FIFA have earned back some credibility in singling out Henry, had his handball been spotted by the referee, it would have most likely resulted in nothing more than a free-kick to Ireland and a booking for the culprit. The French captain was criticised for celebrating the goal and said the emotion of the moment had prevented him informing the referee of his handball. Some also took offence to Henry’s deliberate decision to sit with Irish defender Richard Dunne after the final whistle in an act of solidarity, rather than celebrate victory with his teammates (“If I’d have been Irish, he wouldn’t have lasted three seconds,” said former French international Eric Cantona).

Richard Williams, chief sports writer at The Guardian, saw it as “the perfect stage for an act of unselfishness, of honesty, of genuine sportsmanship”, bemoaning Henry for not taking “the opportunity to neutralise the effect of his reflexes.” But surely it is unfair to have expected the player to make such a sportsmanlike decision, or for him now to be made an example of by FIFA for an act which is commonplace. After all, what footballer would have acted differently? Even those involved with Ireland agree the blame must not lie ultimately with the Barcelona forward. “If it was down the other end and it was going out of play, I would have chanced my arm,” said Irish winger Damien Duff. “You can’t blame him — he’s a clever player.” Giovanni Trapattoni, Ireland’s veteran Italian coach — a man not unused to being on the losing end of a World Cup controversy — admitted, “It wasn’t up to Henry to say “I touched it with my hand.””

Their knee-jerk treatment of Henry suggests FIFA are still uncertain as to how best handle the situation, while Blatter’s indecision and vague comments have done little to enhance his reputation as a man with little interest in the good of running the game. The man former Irish star Liam Brady described as a “loose cannon” and an “embarrassment to FIFA” this week opined that referee Hansson “should have taken the time to reflect rather than immediately awarding the goal.” Blatter neglected to offer a suggestion as to exactly how much time would have been appropriate, but his refusal to fully blame either Henry or the referee is telling.

Hansson himself seemed happy to avoid taking full responsibility. Though FIFA rules prevent him from discussing the game until the investigation has concluded, Hansson told Swedish press he will “ride this storm,” but that the handball was neither his nor his assistants’ fault. He explained that a graphic printed in The Times, which demonstrates how three Irish players were blocking his view at the vital moment “clears the whole refereeing team in this incident.”

The natural consequence of the Henry affair has been to further strengthen the argument for the introduction of video evidence being available to officials should a referee fail to witness a contentious incident like the handball in Paris. Blatter has consistently opposed the use of technology in football, promising to maintain “the human face of football.” A more feasible alternative in the meantime could be Additional Assistant Referees (AARs), currently under trial in the Europa League, although FIFA has stated that no changes would be introduced in time for next year’s World Cup. In the meantime, Blatter has mentioned the possibility of awarding the FAI what he referred to as “moral compensation” in the form of a special fair play prize, an offer Dunne described as “taking the piss.”

Ireland’s grievance is understandable, but they are not deserving of special treatment. Furthermore, why would they want it? In requesting FIFA bend the rules in their favour they are no less guilty than Henry. They are not the first team to fall victim to a referee’s mistake with plenty at stake, and until FIFA introduces measures to address the problem, will definitely not be the last. But as Thierry Henry tried to explain, sometimes, in the heat of competition, passion and the desire to win can get the better of good judgment and common sense. Take those elements out of football and what are we left with?

Spin City

A few months ago, on the same day I turned thirty, I signed the lease to my first real New York apartment. To celebrate both occasions my wife surprised me with an unexpected gift: a record player, complete with amp and tuner. Nothing fancy (it had been donated to her by her boss) but perfect for a young couple looking to get its groove on in a one-bedroom third-floor walk-up.

I owned only two LPs at the time, which I’d acquired in the vague hope that sooner or later I’d have my own turntable on which to play them. The first was The Nightfly by Donald Fagen, purchased for a dollar at East Village Thrift Shop on Second Avenue. According to jazz-rock legend, this was one of the first commercial albums to be fully recorded digitally. I’d only ever heard it on CD, but on vinyl its grooves were warm and full. I later read that “I.G.Y.” (the opening track on side one) is the go-to choice for sound engineers and audiophiles when setting up their equipment, deeming it also a worthy selection with which to debut my own home sound system.

The other record was Some Girls, which I’d bought in the original elaborate sleeve from a guy on the street somewhere on upper Broadway. Arguably the Rolling Stones’ most New York-centric record, the album held fewer surprises but sounded as tough and taught ever. Thrilled with the new addition to our home, the next morning we took a stroll through the neighborhood in search of expanding our vinyl collection. Within a couple of hours we’d amassed such a heavy trove of classic LPs that we had to turn back. That night we spun our latest purchases at my birthday party, which meant my meticulously-compiled 2009-1979 reverse chronological playlist had to be eighty-sixed at the eleventh hour. But who cares when you’re replacing it with a gently worn copy of Al Green’s Greatest Hits?

Almost overnight, I’d been presented with a new project to distract me from more important responsibilities. Suddenly a day without a visit to a record store was considered a day wasted, and my walks home from work became invariably interrupted by a fast perusal of the NEW ARRIVALS section at Academy Records on East 12th Street. Whether you consider this activity a worthy hobby or simply another means of parting with significant amounts of cash will depend on how you feel about John Coltrane (particularly the stuff on Impulse). At first I was quite discerning in purchasing used vinyl, spending money only for recordings that belonged on my personal all-time favorites list, or, alternatively, for those that were relatively unknown to me but that my wife or I considered intriguing enough to excite or entertain, at least for an evening or two. This responsible approach began to slacken however, after it quickly became apparent that it wouldn’t take me much more than a week to pick up everything Dave Brubeck, Van Morrison and Blondie ever recorded for next to nothing.

spines

Despite the fact that most young people these days don’t even own a stereo, let alone a turntable, there are still several old-fashioned record shops well worth a visit operating just blocks from our apartment. Greenwich Village is generally pricier ($48 for Sticky Fingers?) and subway rides to other stores often prove less fruitful, with some on my list having long-since closed. Strider Records on Jones Street (of Freewheelin’ fame) has so much inventory stacked on the floor you can’t even get inside. Instead you have to stand in the doorway and tell them what it is you’re looking for. I’ve spent upwards of twenty dollars on a couple of occasions — usually for classic be-bop — but the majority of LPs in my collection cost less than five bucks, some as little as fifty cents, and others even less. Leaving work one summer’s evening I tripped over a 1947 Metropolitan Opera recording of La Bohème which had been left lying in the middle Lexington Avenue.

I’m thirty (as I mentioned earlier) and like most people my age I grew up hearing music on vinyl at home, or on TDK cassettes in the car and on my Walkman (we didn’t have a CD player until 1993). Part of the pleasure of building my LP library has been the subconscious recreation of my parents’ own record collection, and the subtle discrepancies between US and UK releases. For instance, did you know that the design of Columbia spines differs slightly on either side of the Atlantic? (I remember always reading the spines while on the telephone — back in the days when phones stayed in one place.) Like any level-headed person my Dad keeps his collection in alphabetical order (anybody adhering to an alternative filing system ought not to be trusted), but when I was little he’d always have a stack of new records or stuff he was currently playing propped up on the floor. I know for a fact I spent more time staring at the cover of some albums than actually listening to them.

As much as I’m a close listener, I’ve always been an avid consumer of music, in the sense that I’m interested in the whole product. For me, most of my favorite music is inexorably connected to its album, its cover design, its release date and in some cases even its personal relevance or standing within a greater cultural context. So I’m routinely surprised by people who are willing to pay for digital downloads of albums. Yes, it’s on your hard drive before you know it and in a matter of seconds has been unzipped and dumped into your iTunes. But it leaves the customer without anything else — artwork, liner notes or a lyric sheet — with which to enhance the listening experience. Personally, when it comes to my favorite albums I want to know who played the instruments, who wrote the songs, where they were recorded, who photographed the band, who designed the cover. For these simple reasons I’ve never felt compelled to pay for music in a digital format in my life.

These days if I’m interested in a new recording I’m likely to order the CD online, firstly because it’s cheaper, but also because when I try to think of where I’d purchase a CD physically in New York my mind goes blank. Tower Records, HMV and Virgin Megastore have all pulled out of Manhattan in the last few years and, incredibly, CD sales are now said to lag behind those of vinyl records. If I were to buy a new CD in person today I’d probably have to go to a chain bookstore or a giant warehouse selling microwaves and flat-screen televisions.

Conversely, there are plenty of people not much younger than me who’ve never walked into a record store to buy music. No doubt they enjoy the convenient immediacy of the digital format, plus the fact that it takes up no extra physical space in their home. But their kids will never know the feeling of lying on the living room rug, seeing a record they’ve never heard, and imagining how it might sound. Theirs is the first generation that won’t grow up listening to albums, which doesn’t bode well for the future of music — or society, for that matter — in general.

I own an iPod, but I only use it at the gym or the airport or if I feel like zoning out on a long walk. It’s great for those purposes: it weighs almost nothing and even clips to my clothes. But I can’t imagine it being the only way I listened to music. The MP3 has transformed the way society purchases and listens to the musical product. It has encouraged the demise of the album as unique art form and promotes an already pervading culture of instant gratification. In the digital age, where attentions are already spread too thinly, a song doesn’t stand much of a chance if it hasn’t grabbed its listener within the first five seconds. The difference is akin to that between watching a movie from start to finish and simply clicking on a series of memorable clips on YouTube.

What makes an LP special is that unless you are willing to get up every three minutes to flip a disc over you’re inclined to sit through the whole side, thus hearing the record just as it was made to be heard. Without a convenient means of skipping tracks you’re far more likely to be taken by surprise and, if you’re lucky, discover something new. Just as the virtual e-book cannot replicate a shelf full of dog-eared paperbacks, a record player’s tactile quality makes for an ultimately more rewarding listening experience that truly enhances your living space. Every home should have one.

The Way He Made Us Feel

THE WHOLE WORLD’S GONE OFF THE WALL. So proclaimed the promotional posters hailing the release of Michael Jackson’s solo album Off The Wall in 1979. Exactly thirty years later, the phrase seemed equally apt on a warm June evening, as news of Jackson’s hospitalization, shortly followed by the confirmation of his death at the age of fifty, began filtering through the early twilight. Sidewalks quickly swelled with people leaving work as passing car radios alternately blasted news updates and Jackson’s greatest hits. Cellphones lost reception. Internet browsers became sluggish. Twitter crashed completely. It was one of those rare moments in which suddenly everybody everywhere was consumed by a common story.

Listening to the Michael Jackson playlists being spun on every radio station that night, I was struck by the sheer quality — and number — of those hits. Jackson’s talent as a vocalist and songwriter was often overlooked in favour of the undeniable influence he commanded over pop music’s increasingly visual world. It had been a long time since I’d heard a lot of those songs outside of the context of a music video. Television also has a habit of abandoning the schedule for international incidents and now, even several days later, the pop icon’s videos and performances continue to dominate the airwaves in one continuous loop.

Though the circumstances are tragic, this unexpected revisiting of Jackson’s material has actually been a rare treat, and while not quite invoking a reappraisal of his talents, it has certainly acted as a reminder as to what made the man so special in the first place. Whether scuffling in an epic street ballet or gliding across the stage in a sequined cardigan, the overall affect of this impromptu musical retrospective is both moving and awe-inspiring: what a talent, what a waste. For the last fifteen years of his life, Jackson had primarily existed in the public conscience as a celebrity of former greatness who had been reduced to playing the role of eccentric Hollywood recluse, responsible for a catalogue of tabloid fodder and practically no musical output.

For those who had witnessed his transformation from precocious stage presence turned prince of the dancefloor to multi-million dollar intergalactic megastar, it was hard to watch the King of Pop give up his title so easily. When John Lennon was suddenly murdered at the age of 40, fans were left to wonder what music the former Beatle would never make, a sensation which only grew as the ’80s and ’90s progressed. Like Jackson, Lennon was in the throes of a comeback at the time of his death in 1980, having just released Double Fantasy, his first LP of new material in five years. But as Jackson prepared to embark on his This Is It tour, an epic series of fifty concerts which will never happen, his death frustrates in a bizarre reversal. Just think of the music he might already have made, had his last decade on earth not been taken up by drawn-out legal battles and increasingly odd public behaviour, not to mention his alarming physical transformation and subsequent declining health.

Jackson was hardly a prolific recording artist, even during his peak. Fellow ’80s icon Prince (who is the same age as Jackson) has released thirty official albums in as many years (plus countless bootlegs and unreleased tracks). Jackson in contrast made just ten solo albums between 1972 and 2001. While Off The Wall, Thriller and Bad — the trilogy of best-selling solo records Jackson produced with Quincy Jones in an eight-year period — still sound as fresh today as they did when first released, his work either side of this holy trinity is at best patchy, at worst irrelevant. Perhaps the greatest testament to Jackson’s impact is that such unprecedented fame, universal recognition and out-and-out notoriety was achieved on the back of only three classic albums. This perhaps reinforces the notion that Jackson’s legacy is as much visual as it is musical.

What happened after that is one of the great pop-culture mysteries of our time, one which transfixed the public as much as Jackson’s talent had decades earlier. The music — what little fresh material there was — had become a secondary feature, and by the late ’90s Jackson’s transformation was almost complete. In the eyes of a huge public majority, he was now a has-been, a freak, and for some, a criminal. Even his most ardent fans asked — and still ask — how this could be the same man they’d fallen in love with?

Perversely, though neither sought after nor lucrative, this new kind of media attention became something of a second career for Jackson. Except where once he had beamed at us from the cover of a glossy LP, his face was now more commonly disguised behind dark glasses and a surgical mask, splashed across the tatty pages of every drugstore gossip rag.

In this undeniably sad moment in popular culture, many of those who knew Jackson, professionally and personally, have done their best to dispel the controversy that plagued him, presenting the man as the smart, warm, truly gifted human being the rest of us would prefer to think of him as. For a person who spent his final years associated almost solely with acts of weirdness it’s particularly touching to hear Jackson’s colleagues and friends recall the star’s rare moments away from the spotlight. Quincy Jones spotting the young Michael backstage eating a sandwich; Brooke Shields poking fun at his famous rhinestone glove; Bad tour backing singer Sheryl Crow staying up with Jackson in his Tokyo hotel room to watch the western Shane.

In 1994 Jackson married Lisa Marie Presley, in an unexpected union of pop dynasties. Though they divorced less than two years later, it now appears to have been his most orthodox adult relationship. The day after Jackson’s death, Presley revealed how her then-husband had once confessed to her his own fears of ending up like her father, who for much of the ’70s was a bloated, grotesque version of his former self. Ultimately, in a twisted reversal of Elvis’ gross demise, Jackson simply withered away, and, as befits modern pop icons, before our very eyes. The King is dead — this time they really mean it.

Michael Joseph Jackson, August 29, 1958 – June 25, 2009

Still Making Sense

When David Byrne took to the stage to greet the crowd in Brooklyn last night, he was accompanied by an unusual accessory. Not a guitar, nor even a tape recorder containing a drum machine backing track of “Psycho Killer”. Instead, the former Talking Head wheeled out a white bicycle, which had apparently been designed to match his outfit (and hair). While many of the 27,000 who’d crammed into Prospect Park had taken the subway to attend the free concert, Byrne, now 57, explained how he’d simply ridden his bike across the river. It was a typically quirky introduction to the evening from a man who in recent years has become as active in his advocacy of two-wheel travel as in making music. He even designed a series of bike racks which are dotted around New York City.

Things didn’t get any less predictably unexpected once the music started. The set was billed as focusing solely on Byrne’s long-term, on-off-on again collaborations with Brian Eno, who produced a trio of early Talking Heads albums: More Songs About Buildings and Food (1978), Fear of Music (1979) and Remain In Light (1980). In 1981 Byrne and Eno made the experimental record My Life in The Bush of Ghosts, their last project until last year’s Everything That Happens Will Happen Today, from which the evening’s opening number was plucked. Unfortunately, the song, “Strange Overtures”, is lost amid a half-baked sound which struggles to generate much interest. Initially disturbed, I can only assume that this was a technical hitch, as shortly afterwards the pulsating Afro-beats and Dadaist chants of “I Zimbra” float effortlessly into the warm air, setting the tone for the rest of the evening.

Though often inaccurately bunched together with punk and post-punk acts due to regular appearances at the same venues, Talking Heads were really a no-wave group, whose interest (in the early days at least) lay firmly in the underground cultures of avant-garde art and New York’s club scene. Combine this with Byrne’s obsessive fascination for foreign rhythms, stream-of-consciousness lyrics and quizzical observations about the rest of the country, and one has arguably the quintessential New York baby-boomer band: wordy, witty, worldly, but not afraid to shut up and get down when the music takes them. The band’s distinctive sound seems to have been spawned by the city’s streets on a hot July day, when Manhattan could be mistaken for Calcutta. No song captures the oppressive rhythm of a New York summer like “Born Under Punches (And The Heat Goes On)”, which always sounds like it was written and recorded in a jungle (made of trees or concrete). Tonight the song hangs in the thick air and seems to drip like dew off sticky humid leaves.

This hypnotic track is immediately followed by “Once in a Lifetime”, perhaps Byrne’s best-known composition. The song has gone a long way in helping seal Talking Heads’ position as the most enduring and influential band of the American New Wave and Byrne as rock’s ultimate everyman anti-hero. Lyrically, both this and the next song, “Life During Wartime”, have long-since seeped into the realms public consciousness: “You may find yourself behind the wheel of a large automobile…”, “This ain’t no party, this ain’t no disco…” Almost thirty years after he wrote it, when Byrne asks, “Well, how did I get here?”, I still wonder if he’s figured out an answer.

When I saw Byrne seven years ago on a similar summer evening in Leicester, he was accompanied by a group of young singers he’d met at a high school. Tonight he’s backed by a troupe of hyperactive dancers and gymnasts, whose back-flips and leapfrogs somehow manage not to distract but to enhance the musical experience. For the most part Byrne remains passive to their performance, as if unaware of their presence.

Things slow down for “Heaven”, which Byrne sings with soaring concentration. The careful choreography (even Byrne’s Stratocaster is off-white) is reminiscent of the Stop Making Sense tour, captured so memorably by filmmaker Jonathan Demme in what is still perhaps the greatest concert movie of that decade. That feature leaned heavily on Speaking In Tongues (1983), Talking Heads’ first record produced without Brian Eno since their debut LP in 1977. Likewise tonight’s curated set-list finds no room for the radio-friendly material from later self-produced albums Little Creatures (1985), True Stories (1986) or Naked (1988).

For the encore Byrne is joined on-stage by percussionist Steve Scales, whose inclusion in the expanded Talking Heads band helped define the funky sound of the live albums The Name Of This Band Is Talking Heads (1981) and Stop Making Sense (1984). There’d be no dusting off of the big suit tonight, but nobody questions Byrne when he reappears sporting a white tutu pulled up over his original outfit. “Take Me To The River” is a rare case of a covered song improving on the original, and it belongs as much to Byrne as it does to Al Green now, while “Burning Down The House” always does exactly that. Both songs demonstrate Byrne’s long-standing interest in gospel music and religion-induced performance.

At show’s end David Byrne disciples young and old (this was the most family-friendly concert I have attended) filtered off into the streets and down into the subway, their bodies still jerking to Byrne’s rare brand of spasmodic rhythms. By all accounts Byrne hopped back over the bridge on his bike. I bet he was home before we were.


David Byrne, Prospect Park Bandshell, Brooklyn — June 8, 2009

Strange Overtones
I Zimbra
One Fine Day
Help Me Somebody
Houses In Motion
My Big Nurse
My Big Hands (Fall Through The Cracks)
Heaven
Moonlight In Glory
Life Is Long
Crosseyed and Painless
Born Under Punches (And The Heat Goes On)
Once In A Lifetime
Life During Wartime
I Feel My Stuff

Encore 1
Take Me To The River
The Great Curve

Encore 2
Air
Burning Down The House

Encore 3
Everything That Happens

San Siro Send-Off Turns Sour for Capitano Maldini

It was a sunny afternoon in Milan last Sunday as Paolo Maldini led his team out onto the San Siro turf for the final time. The Milan captain was greeted by the fervent roar of home support from a crowd of over 70,000 that had gathered to cheer their hero one last time and to honor an extraordinary career. Each fan waved aloft a special scarf commemorating the occasion, and even the players of Roma, Milan’s opponents for the day, wore GRAZIE PAOLO t-shirts over their playing jerseys as they took to the field.

As the teams lined up, an emotional Maldini saluted his family in the stands, before glancing to catch teammate Andrea Pirlo wiping away tears: “Ragazzi, let’s not start now, eh?” Indeed: despite the celebratory atmosphere, there was a game to be won, and for the victor a potential spot in next season’s Champions League beckoned. Yet it was at this moment that the Curva Sud, the area behind the goal on the second tier which is home to Milan’s most fanatical followers, chose to have its say, by unfurling a large banner which controversially criticized the man of the hour:

“Grazie capitano: sul campo un campione infinito
ma hai mancato di rispetto a chi ti ha arricchito”

“Thank you Captain: on the pitch an ageless champion
but you have shown a lack of respect towards those who made you rich.”

The celebration had been marred by a small section of Milan supporters, who chose Maldini’s farewell home match to turn on their loyal captain. For one of the sport’s greatest ambassadors, a model of service and fair play, it was a shocking reception.

The match kicked-off, and Milan came twice from behind before eventually losing 3-2, a defeat which has thrown their hopes of playing in Europe next season into jeopardy. At the final whistle, all twenty-two players ran to embrace Maldini, who then, at the encouragement of his colleagues, somewhat reluctantly embarked on a weary lap of honor. As he approached the curva, the same disgruntled fans took its second dig at their captain, unveiling a second banner.

“Per i tuoi 25 anni di gloriosa carriera sentiti ringraziamenti
da chi hai definito mercenari e pezzenti”

“For your glorious 25-year career you’ve received praise and thanks
from those you once defined as mercenaries and tramps.”

Spray-painted banners, known as striscioni, are a common sight in Italian soccer stadia, and play a significant role in ultrà culture. Gli ultras are Italian teams’ most die-hard supporters, the kind of people for whom being a football fan is a full-time job. Often topical and usually humorous (ultràs love a good play-on-words), striscioni can be used to great effect in rallying home fans or breaking the tension in an important game. If critical, they generally target the club’s upstairs management or a teams’s poor performances. Rarely do individuals come under personal attack. But in Maldini’s case, it was clear the milanisti had old scores to settle. To further rub salt into Maldini’s wounds, they even dusted off a giant red-and-black striped flag with a huge white number six, the shirt number (since retired) worn by former Milan legend Franco Baresi, from whom Maldini inherited the captain’s armband in 1997. The bitter disappointment was etched on Maldini’s face as he shot a sarcastic thumbs up to his critics on the second tier on the curva — he could even be seen mouthing the words “figli di puttane”, though after the game his only official comment was “I’m proud not to be one of them.”

“It’s my home — it always has been, it always will be.” This is how Paolo Maldini once described Milan’s Stadio Giuseppe Meazza, more commonly known as San Siro after the area of the city from which its imposing twists of concrete spiral into the Milanese fog. For decades it has been home to both Milanese clubs, Milan and Inter, but far more than just a historic soccer ground, for Maldini the famous stadium has also been his place of employment for the past twenty-four years. Maldini made his Serie A debut for the rossoneri in January 1985; he has since pulled on the red-and-black number three shirt 901 times, collecting seven scudetti (the Italian league championship title) and five European Cups/Champions Leagues in the process. He also won 126 caps for Italy between 1988 and 2002, playing in four World Cup tournaments. Maldini’s berth in football’s hall of fame has been assured for some time. Famed not only for his success but also his longevity, today the Italian is internationally adored and universally recognized as one of the greatest defenders to ever play the game. After extending his contract for one final season in 2008, the Milan captain finally announced his decision to retire from playing at the end of this season, just four weeks before his forty-first birthday.

So why the sudden backlash, and from his own fans no less? Italian sports daily La Gazzetta dello Sport tried to get to the bottom of the affair on Monday, even reporting comments of members of those responsible. “We just wanted to make a few things clear to him,” said Giancarlo Lombardi, leader of Milan’s organised support. “Maldini hasn’t always been respectful towards us in the past.” Nicknamed “Sandokan”, Lombardi claimed to be on his way to a bar just yards from Milan’s administrative headquarters in Via Turati. With him was Giancarlo Capelli, also known as “Il Barone”, historic capoultrà of the Curva Sud. Neither man was at Sunday’s game since both are already banned by Italian law from attending sporting events, but their orders had clearly been carried out.

Their grievance goes back to May 2005, when Milan dramatically lost the Champions League final to Liverpool after a penalty shoot-out, despite having galloped to a comfortable 3-0 lead at half-time. On Milan’s return from Istanbul the team ran into a group of hostile fans at Malpensa airport, who told the players they should ask for forgiveness. It was at this moment that Maldini, who had scored the game’s opening goal after just sixty seconds, responded with his now infamous “tramps” remark.

The second incident was before the 2007 Champions League final, in which Milan got their revenge over Liverpool, winning the match 2-1. A large portion of the curva ran into problems with the law in Athens, and did not appreciate Maldini’s decision to distance himself from the issue. As a consequence, the following August the entire curva refused to support the team at the 2007 European Supercup in Monaco, even preventing the more casual fans to cheer as the rossoneri ran out 3-1 winners against Sevilla. The surreal atmosphere continued at Milan’s home games for several months during the 2007-08 season.

“I don’t know why they decided to dredge up these things now,” said Maldini, recalling the incident in Wednesday’s Gazzetta, his first interview since the Sunday’s controversy. “I’ve never had a close relationship with the fans,” he told Giovanni Battista Olivero, “But not out of snobbery — with my last name I always had something to prove, and so I wanted to be judged solely by what I did on the pitch.” Maldini was referring to his father, Cesare, who captained Milan to its first European Cup success, over Benfica at Wembley in 1963. “I guess there are those who interpret this as arrogance or disregard.”

Asked about his strong comments immediately after the match, the Milan captain stands by them. “It was an instinctive response to an act which had been premeditated for days, months, maybe years. I didn’t have the chance to think. I was a wounded man.”

More than the attack itself, what hurt Maldini most was the silence of the club itself. “I don’t like the way they haven’t taken any position on the matter,” he explained. “There hasn’t been one comment. From the president down, not a word of solidarity towards me. Call me an idealist, but I believe that a club like Milan should disassociate itself from certain episodes.”

* * *

Italian fandom, like Italian politics, is an extremely complex world, both nationally and within the confines of a city or club. So complex in fact, that most outsiders (including the majority of the foreign press) too often resort to fulfilling lazy stereotypes rather than trying to fully understand the socio-cultural make-up of a club, city or nation. Though not a violent incident, Sunday was the latest poor advertisement for Italian fan behavior, in a week when Manchester United fans travelled for the Champions League final to Rome, dubbed “Stab City” by the Times of London. Of course, these same knife-wielding thugs are also responsible for the intricate and spectacular choreography common in Italian stadia, and so admired across Europe.

For several years the positions taken by Milan’s organized support have become increasingly unpredictable, and its relationship with the club’s management evermore turbulent. The notorious Fossa dei Leoni (Lion’s Den), the first ultràs group founded in Italy, was dissolved in 2005 almost overnight, following political disagreements with other fan organizations and an alleged collaboration with Digos, a special operations branch of the state police. The inner-politics of the various curva groups and their relationship with the club and the team has been strained ever since. The ultràs‘ biggest gripe, perhaps justifiably, has been Milan’s reluctance during recent transfer campaigns to invest in younger talent, instead opting repeatedly for established stars on the wrong side of thirty. This policy is perhaps harder to take given the fact that since the late-1980s until recently Milan — under the financial backing of media tycoon and current Prime Minister, Silvio Berlusconi — had spent large sums of money each summer on some of the world’s finest players, resulting in the most sustained period of success in the club’s history.

Maldini himself has faced criticism before. “It’s not the first time the fans have turned on me,” he recalled. “During the 1997-98 season, I’d been captain for six months when they began suggesting I wasn’t worthy of the armband. They even painted a banner outside my house which read, ‘Less Hollywood, more hard work.'” (Hollywood is a famous discoteca in Milan, and a popular hotspot where footballers, models and stars of TV can rub shoulders. Ironically, Maldini, his wife Adriana, friends and teammates spent the evening at the nightclub after Sunday’s game.) Perhaps due to his stature at Milan, and within the sport as a whole, Maldini has the mental capacity to render himself impervious. “These things make you grow,” he said. “I’ve developed an intellectual freedom and a freedom of expression which I’ll never give up.”

Over the course of the week the international football community has been quick to leap to Maldini’s defence. On Thursday, the morning after Barcelona’s Champions League victory over Manchester United, Barça coach Pep Guardiola dedicated the triumph to the Milan captain, saying, “He has all of Europe’s admiration.” The same day Milan’s general director Adriano Galliani officially responded to Maldini’s criticism of the club’s handling of the affair and lack of support towards him in the form of an open letter, which appeared on the club’s official website:

I read your interview and I understand your sadness: as you know, I’ve been under escort for the last two years because of the very same people who contested you.

It was me who took the decision to remain quiet: not just because I’d been advised, but because I believed, and still believe, that silence is the most effective weapon, and I did not wish to give these people further exposure after what happened on Sunday.

Maldini has routinely stated that he does not plan to go into coaching following the end of his playing career. Having played under his own father for both Milan (2001) and the Italian national team (1996-98), he has witnessed first-hand what effect that job can have on a man and his family. Paolo’s eldest son Christian is currently working his way through Milan’s youth ranks, and has by all accounts already developed many of his Dad’s signature defensive attributes. Milan have already made public their plan to resurrect the number three shirt (set for retirement along with Paolo) should another Maldini make the first-team squad.

Some feel that this final ugly act may push Maldini even further away from the game. He certainly has other interests outside of football, most notably the popular casual clothing line Sweet Years, which he founded with former Inter striker Christian Vieri in 2003. Though inexorably associated with one city and one club, Maldini clearly sees a world beyond the confines of Milan, both the team and the city. He has often expressed a desire to live in the United States –- he already owns a vacation home in Miami and is a regular visitor to New York.

On Sunday Maldini will play his last ever professional game against Fiorentina, a match which essentially has become a play-off for third and fourth place in Serie A and an automatic Champions League position. Whatever happens in Florence, Milan will begin next season with a new coach, the Brazilian Leonardo, a new captain,

Liza Finn

Blame Norah Jones, but it would be easy for some critics to dismiss the music of Liza Finn as the work of yet another girl-at-the-piano: the post-adolescent jazz-pop musings of a young, urban woman. But the apparent ordinariness of this 25-year old from North London is precisely what makes her and her music so extraordinary. Finn may compose pretty songs, and even has a pretty voice with which to sing them, but her abilities as a vocalist and a songwriter lift her above the swathes of supposedly like-minded artists with whom she could all too comfortably have been mistakenly grouped.

A classically trained musician, Finn’s piano is arguably her greatest instrument. Her compositions reflect an impressive appreciation for sophisticated song structure and a rare ear for melody, which on occasion results in an irresistible pop hook. Finn’s songwriting is matched by a voice that arrives breezy as a summer’s day, before soaring off into the night sky. But while she can clearly sing, she also knows how to sing a song, a far less common gift in modern music. While her pop sensibilities echo Carole King, Finn’s phrasing at times certainly more than hints at many a late night spent plundering the jazz archives.

Naturally, Finn’s primary thematic concerns appear to revolve around modern life in London town. Perhaps wanting to avoid being the angry city girl, she cleverly veers away from self-absorbed introspection, often preferring instead to present the lives of her peers in song (“How Long”, “Get A Life”). Here Finn becomes keen social commentator of the high street: the characters she presents are each sharply-observed personalities, either to be praised, mocked or pitied (or maybe all three, in the case of the somewhat tragicomic story of “Party Girl”). But thankfully, she never once risks descending into Lily Allen territory, nor does her music become twee (an unfortunate tendency of the otherwise talented Feist). Finn’s refreshing attitude towards the less tolerable aspects of society’s youth is never one of anger or frustration, but more simply resignation and even a sense of adult bewilderment, suggesting a certain maturity and a healthy, knowing detachment — ideal circumstances for putting pen to paper.

When she isn’t referencing sly encounters in the pub or on the tube, Finn uses her music to travel to exotic lands, dropping the names of far away places in a manner that recalls Blue-era Joni Mitchell. She reveals herself as a skilled and concise lyricist on the slinky, itchy road-movie “Driving To Mexico”, which conjures up more hedonistic south-of-the-border imagery in the first two verses than some Eagles albums managed on two sides. Finn already has us hooked, but in the next line chooses to deny us anything further as to how the story’s leads came to be on such a journey (“Ooh-ooh, driving to Mexico/Ooh-ooh, nowhere for us to go”). The device renders this atmospheric tale an unresolved mystery, and a more interesting song for it. Meanwhile, Finn’s kitchen-sink delivery is replaced here by a deeper, more restrained jazz vocal, suggesting plenty of room for future musical direction.

Like many good songwriters, Finn’s successful marriage of the vague and the specific is enhanced by a firm grasp of the universal, which she has begun to allow seep into her work with a growing command. “It’s Too Late” is a classic break-up song performed with a softer, breathy vocal. But when Finn approaches a heavier theme, it’s her light, almost whimsical insertion of the everyday that makes the bare truth of the subject matter all the more heart-wrenching:

The pillow’s still warm on your side of the bed
Your coffee’s not drunk and your paper’s not read
The dog now needs walking and even he knows
You ain’t going home for a change of clothes…

Perhaps Liza Finn’s most unique talent lies in these smart juxtapositions: her sunniest upbeat tunes are dyed in dark undertones, while her deeper efforts are presented as throwaway pop. Finn’s is a world where nothing is quite as it seems, and where everything is worthy of a second look — or listen.

This review first appeared on lizafinn.com.

Liza Finn photographed by Tony Hart.

Portugal’s Generation Gap

Any child developing an interest in football over this past year could be forgiven for believing Cristiano Ronaldo is the greatest player the game has ever seen. The popularity of the Portuguese winger’s club, Manchester United, combined with the generally over-hyped Premiership coverage on Sky Sports would be enough to fool any impressionable youngster. But the fact that the football media can so strongly influence adult fans is much more surprising. Following Ronaldo’s fine form for United this season — in which he scored 31 goals (a Premiership record for a midfielder) — there was much talk amongst fans and journalists before Euro 2008 that the player might “do a Maradona”, and single-handedly (no pun intended) lead Portugal to European glory.

Of course, this suggestion was both unlikely and pointless, least because Portugal need not rely solely on one player. Deco, the naturalised Brazilian, is a playmaker in the South American mold, combining a compact physique with fine control and vision. But he can drift in and out of big games, often without ever leaving his mark. When I first saw Deco play — for José Mourinho’s FC Porto side which won the UEFA Cup and Champions League in successive seasons — I was impressed. He was skillful and tricky, and the team revolved around him. At star-studded Barcelona he was one of many, sharing top-billing with the more imaginative (and popular) Ronaldinho. A similar fate may await him at Chelsea, for whom he signed following Portugal’s lacklustre quarter-final exit from Euro 2008 at the hands of Germany, and where he will be reacquainted with the now ex-Portugal coach, Felipe “Big Phil” Scolari.

At Euro 2008 Portugal perhaps peaked too early, making them instant favourites. Ronaldo and Deco combined well in the 3-1 victory over the Czech Republic, but neither player could galvanize the team enough to overcome the might of a German team in its stride. Though I risk descending into common football cliché by saying so, both Ronaldo and Deco also suffer from attitude problems, particularly when it comes to winning a free-kick, feigning injury, and, at worst, ensuring an opponent is booked. These cynical tactics are obviously common-place in football in all countries, but I find it unfortunate for a country that is renowned for its attractive football, that its two most celebrated players should adhere so closely to this ugly stereotype. Each is no stranger to controversy, on and off the pitch. At the 2006 World Cup Deco received a red card in the match with Holland, and Ronaldo was seen as provoking the dismissal of Wayne Rooney in the quarter-final with England. Meanwhile, both players have been involved in incidents concerning prostitutes and organized sex romps.

None of this does anything for either player’s likability — both Ronaldo and Deco are far too talented to resort to such lowlife behaviour, yet perhaps simply too stupid to recognize how they are tarnishing their image. This, for me, is one of the primary differences between the current Portugal team and the oft-heralded “Golden Generation” which helped win the World Youth Cup in 1991 and afforded the senior team the title of “Brazilians of Europe”, which had to do with much more than historical connections between the two countries.

By the late-1990s this crop of talent had spread itself throughout the best leagues in Europe, ensuring Portugal’s position as serious contenders at major championships. The national team’s two biggest stars in this period were Luis Figo and Manuel Rui Costa, without doubt the two finest players Portugal has produced since Eusebio. Like Ronaldo, Figo began his career at Sporting Lisbon, before making a name for himself at Barcelona and, in a controversial move, Real Madrid. A marauding winger in the old-fashioned sense, his slightly hunched-over forward stance meant he could beat players with just a drop of the shoulder and shove of the ball. He wasn’t as fast as Ronaldo, nor did he share the United star’s heading ability, but he won the Ballon d’Or in 2000, and the FIFA World Player of the Year award in 2001.

Rui Costa was Portugal’s heart and soul, a serious man who lived and breathed football — the very first word to come out of his infant mouth was “Benfica.” (Cristiano Ronaldo was named after President Reagan — who do you prefer now?) After several fine seasons at the top in Lisbon, Rui Costa joined Fiorentina in 1994, where together with Argentine striker Gabriel Batistuta he shared an excellent understanding on the pitch, and idol status off it. Perhaps unlike Figo, Rui Costa was an elegant playmaker in the mold of a classic number ten, and a joy to watch in full flight. The Florence club’s bankruptcy caused Rui Costa to somewhat reluctantly transfer to Milan in 2001 — he famously broke down on a local radio station trying to explain his move to la Viola’s disappointed fans. He was also hugely popular at San Siro, but after an instrumental Champions League-winning season in 2003, he became marginalized by the arrival of an extraordinarily talented young Brazilian named Ricardo Izecson dos Santos Leite — otherwise known as Kakà.

Portugal were semi-finalists at Euro 2000 but flopped at the 2002 World Cup in Japan and Korea. Deco and Ronaldo overlapped with the older generation at Euro 2004, which was held in Portugal, although the host’s campaign was marred by behind the scenes bickering. Figo allegedly disapproved of Deco’s presence within the squad, stating that he wanted to win with a team that was “100% Portuguese”. Despite the tension within the home side — and coach Scolari’s indecision over whether to field Deco or Rui Costa — this was undoubtedly Portugal’s best ever chance to win a major tournament. They almost did it, reaching the final only to lose 1-0 to surprise package Greece (for the second time in the competition).

Figo left Madrid in 2005 to sign for Inter, where he has won three consecutive Serie A league titles (although Inter’s detractors would recall the effects of calciopoli on these successes). In 2007 he even changed his mind on lucrative transfers to Saudi Arabia and the United States in order to stay with the Milanese giants for another season. Rui Costa left Milan in 2006, taking a significant salary-cut in order to fulfill a boyhood dream and end his career at Benfica. He made a final emotional farewell to football in May of this year at the age of 36, making his last appearance in front of Benfica’s home fans in a 3-0 victory over Vitória de Setubal at Lisbon’s Estadio de Luz.

Goodnight Vienna

Last night’s Euro 2008 final was the last live broadcast by John Motson, BBC Sport’s most senior commentator and the voice of its football coverage for over thirty years. His decision came after the BBC lost the rights to screen live football as of next season. Motson will continue to commentate on BBC1’s Saturday night Premier League highlights show Match of the Day and BBC Radio 5 Live, but will not be present at the 2010 World Cup in South Africa. “I’d been thinking about it at the start of the season,” says the 62 year-old, on the eve of Spain’s European Championship triumph in the Austrian capital. “But now I’ve decided I don’t want to be tearing around South Africa at the age of 65. It’s physically and mentally challenging.”

Motson was hired by the BBC in 1968 as a sports reporter for Radio 2, and replaced Kenneth Wolstenholme on Match of the Day in 1971. The son of a Methodist minister, Motson was born in Lancashire in 1945 but educated in Suffolk, where to his dismay football was not among the sports played. Famed for his sheepskin coat and encyclopedic knowledge of the game, Motson habitually spent evenings before matches compiling statistics and laminating team-sheets. “People who know me think it’s an obsession,” he says. This unwavering method of preparation and boundless enthusiasm for facts and trivia have often led to derision amongst critics and armchair fans, though I for one have always admired such old-school professionalism. It’s certainly preferable to the smug, pat-on-the-back, 19th-hole boy’s club banter that passes for BBC football coverage these days.

Motson’s first appearance on Match of the Day was non-league Hereford United’s shock victory in an FA Cup fourth round replay over Newcastle in 1972. He went on to commentate at 34 FA Cup finals, nine European Championships, nine World Cups and more than 200 England internationals. Motson excelled at major tournaments, where his true appreciation of drama and unparalleled ability to evoke a sense of occasion were most valuable. He picks out Italy’s Paolo Rossi-inspired win over Brazil in the 1982 World Cup and the epic France-Portugal semi-final at Euro 84 as two of his most memorable games.

For a brief moment in the mid-1990s, Motson was replaced for big games — including most famously the 1994 World Cup final — by Barry Davies. Though well-respected in the world of sports broadcasting, Davies’ style often suggested condescension towards both players and viewers, especially later in his career, and his over-pronunciation of foreign names — plus occasional bias — began to grate. I remember listening to him getting into a live heated debate with John McEnroe while commentating at Wimbledon the day after Italy knocked Holland out of Euro 2000, and in doing so revealed himself to know less about football than a former tennis pro from New York.

Motson however made good use of his co-commentators. For many years his partner for big matches was the calm and intelligent former England and West Ham player Trevor Brooking. Sometimes, when handing over to Brooking, Motson would literally shout his name in full at the end of a particularly excited sentence without pausing: “And with that goal Gary Lineker has yet again saved England in this World Cup Trevor Brooking!” Less memorable have been his more recent collaborations with the charmless and patronising Mark Lawrenson.

Like all live commentators, Motson was prone to the occasional on-air gaffe or ridiculous outburst. Here are some of my favourites:

“It’s a football stadium in the truest sense of the word.”

“For those of you watching in black and white, Spurs are playing in the yellow strip.”

“So Arsenal 0, Everton 1, and the longer it stays like this the more you’ve got to fancy Everton.”

“On a scale of one to ten that was one hell of a strike.”

“And Seaman, just like a falling oak, manages to change direction.”

“That’s an old Ipswich move — O’Callaghan crossing for Mariner to drive over the bar.”

“I think this could be our best victory over Germany since the war.”
— On England’s 5-1 defeat of Germany in Munich, September 2001.

“Northern Ireland were in white, which was quite appropriate because three inches of snow had to be cleared from the pitch before kick off.”

“The referee is wearing the same yellow-coloured top as the Slovakian goalkeeper. I’d have thought the UEFA official would have spotted that — but perhaps he’s been deafened by the noise of this crowd.”

“It must be like being stuck in the middle of a giant Outspan.” — Motson imagines life as a Holland fan.

“You couldn’t count the number of moves Alan Ball made… I counted four, and possibly five.”

“I’ve just heard that in the other match Real Madrid have just scored. That makes the score, if my calculations are correct, 4-3! But I’m only guessing!”

“I’ve lost count of how many chances Helsingborg have had. It’s at least five.”

“Chelsea haven’t got any out and out strikers on the bench unless you count Zenden who’s more of a winger.”

“In a sense it’s a one-man show… except that there are two men involved, Hartson and Berkovic, and a third man, the goalkeeper.”

“And what a time to score! Twenty-two minutes gone!”

“The World Cup is a truly international event.”

“Middlesbrough are withdrawing Maccarone the Italian, Nemeth the Slovakian and Stockdale the right back.”

“Trevor Brooking’s notes are getting wet with the rain. I must lend him some of the perspex I always bring to cover mine.”

“It’s so exciting we’re talking at the same time for the first time ever!”

“I was about to say before something far more interesting interrupted…”

“Actually, none of the players are wearing earrings. Kjeldberg, with his contact lenses is the closest we can get.”

“It’s so different from the scenes in 1872, at the Cup Final none of us can remember.”

“That shot might not have been as good as it might have been.”

“Not the first half you might have expected, even though the score might suggest that it was.”

“He’s not quite at 110 per cent fitness.”

“There is still nothing on the proverbial scoreboard.”

“Whether that was a penalty or not, the referee thought otherwise.”

“Bruce has got the taste of Wembley in his nostrils.”

“This is the biggest thing that’s happened in Athens since Homer put down his pen.” — reacting to Greece’s surprise triumph at Euro 2004.

“Koller shares a hairstyle with Jaap Stam. Of course, they have no hair.”

“Say something, Mark, say something!” — For once at a loss for words, a shell-shocked Motson implores his co-commentator Mark Lawrenson to make sense of England’s disastrous defeat to Croatia in the Euro 2008 qualifier.

During the 2002 World Cup Motson famously developed something of a fixation with the fact that games being played in the evening in Japan and Korea were broadcast live in the early morning in the UK, and attempted to insert references to cooked English breakfasts into his live commentary at every opportunity:

“Just one minute of overtime, so you can put the eggs on now if you like.”

“You can have your breakfast with Batistuta and your cornflakes with Crespo.”

“I can confirm that Trevor Brooking did have his own eggs and bacon before setting off this morning.”

“England will be having Sweden for breakfast.”

“Hold on to your cups and glasses… You can smash them now! David Beckham has scored!”

Room with a View

When I moved to Italy in the autumn of 2003, I was lucky enough to be offered a place to stay by an old friend of my parents, a retired English teacher named Bibi. That isn’t her real name: she’s actually called Fortunata Maria, but for reasons unknown people have always called her Bibi, so that’s what we called her too. Bibi lived in a small town called Borgo San Lorenzo, in the Mugello valley, roughly an hour north of Florence (or half an hour if you’re being driven by an Italian). I’d first met Bibi when I was eleven — my family and I had spent many summers on holiday in Italy and had stayed with her on most of those visits. Consequently I had a lot of friends in the town, and was certainly taken care of at home: Bibi’s live-in help, a Neapolitan woman named Tina, would serve me an industrial quantity of pasta twice a day, and if I didn’t eat with them it was because I’d been invited to dinner by someone else.

Despite the relatively easy life I was leading in Borgo, there was little to do there, and like most small Italian towns this one became somewhat deserted every afternoon. A typical day generally consisted of meeting friends at the bar, reading La Gazzetta dello Sport, eating a big lunch and taking a nap, before getting up and doing the same thing all over again until bedtime. As much as I genuinely enjoyed watching television dramas most nights with Bibi, it didn’t take a genius to figure out that I couldn’t stay there forever, and that for all my young person’s needs — social, cultural and professional — Florence was where it was at. I’d begun working in the city after Christmas, and the daily commute on bus and train was beginning to take its toll. Though they were little more than an hour away, the difference between Florence and Borgo was more appropriately measured in light years. By the early spring I decided that five months was about all I could take.

Through a colleague I’d been given the number of a doctor in Florence — let’s call her OC — who as luck would have it was looking to rent out a room in her apartment, which had been described to me as “gorgeous”. While sharing a house with a Florentine divorcée perhaps wasn’t my ideal living situation, it made marginally more sense than staying in a sleepy Tuscan town with a reclusive former English professor and her hyperactive cat. When my colleague began describing the spectacular view from OC’s apartment my initial hesitancy began to wane and I decided it was an opportunity I had to investigate.

OC was on the island of Capraia that afternoon when I called to introduce myself, but we arranged to meet at her apartment a week later — by which time my already overly active imagination had begun to visualize a new life in Florence, complete with all its glamorous trappings. It was a decidedly unglamorous wet spring afternoon however the day OC and I finally met. Getting off the bus in Piazza della Libertà, I walked on Via Pier Capponi for several minutes in the direction of Piazzale Donatello before successfully locating the address through the drizzle. Realizing I was half an hour early, and with no bar in sight, I was forced to take cover beneath a concrete overhang protruding from the adjacent apartment block. Opposite was a non-descript yet quite desirable row of mid-century residential buildings, of which number seventeen was arguably the largest: a big yellow construction with a pizzeria on the ground floor and a hotel next-door. The top floor apartments were graced with a long balcony running the width of the building; trying to remember what vague information I’d been provided with I suspected one of those was OC’s.

At three-thirty I made a dash across the street and buzzed: a voice responded, I pushed open a heavy metal door and entered a small lobby decked in marble and glass. The elevator had a manual wooden door with a round window like a ship’s porthole, then two narrow doors with even narrower windows. The interior of the lift was covered in a red carpet, except for a bathroom-sized mirror attached to the back wall. Arriving at the sixth floor, I pulled open the thin double doors and saw OC beaming at me through the porthole window.

The first thing I noticed were her black leather pants — more Joan Jett than medical professional — which she paired with a white boat neck long-sleeved t-shirt. Streaks of grey ran through her shoulder-length brown hair which was pulled away from her face, as though she’d just showered. I guessed her to be in her early-fifties, though her youthful manner — and wardrobe — seemed to defy her mature visage.

OC and I shook hands and entered the apartment through double wooden doors, upon one of which was a plaque engraved with “Dott.ssa” (Dottoressa). We entered a dark and roomy hall dominated by a huge wooden dresser, possibly the largest piece of furniture I’d ever seen, itself half-hidden beneath a mountain of clutter. She then led me through frosted glass doors into a spacious living room. Despite the overcast weather, light poured in through sheer curtains covering glass doors leading out to the balcony. In front of the curtains was a huge potted plant, its droopy leaves partially covering one of two comfy beige sofas. Still wearing my raincoat, I sat down in the middle of the other one, directly beneath a giant canvas depicting a barnyard scene in the moments which followed the birth of Christ. OC revealed that it was a reproduction of a Ghirlandaio fresco in the church of Santa Trinità. She said she didn’t much care for it, but since it was the work of a friend of hers she felt somewhat encumbered by it. It wasn’t the only item of interest: two giant lanterns sat in the corners of the room which had originally been used on steam engines (OC’s grandfather had worked on the railways). She then offered me a choice of coffee or limoncello. I chose coffee; a minute later she returned from the kitchen with both.

OC sat down in an armchair directly in front of me, and placed a tray between us on a matching ottoman. She then proceeded to talk. And talk. And talk — until I realized I’d finished both my drinks without barely having uttered a word. She appeared perfectly happy to skirt conventional conversation starters — who I was, where I’d come from, what I was doing in Florence and how I’d ended up in her living room. Instead she soon began to ramble almost absentmindedly about her vacation home on Capraia, right down to its shoddy plumbing. I tried listening to her with intent at first, but soon my eyes began to drift around the room, observing the hand-painted wooden panels which hung on the wall behind her, and even glimpsing the hilltop town of Fiesole through a gap in the curtains. Though bemused by OC’s complete disinterest in her potential housemate, this wasn’t enough to put me off. Her apartment was the kind of vast, sprawling, Manhattan-style pad I’d only ever seen in old Italian movies, and having got through the door I was not about to give it up. Besides, as far as I was concerned the less interest OC showed in my life the better.

I hadn’t even yet seen my room, but really I didn’t need to: one glance at the view from the kitchen sealed the deal for me. More French doors gave way to another balcony, and beyond a row of trees the city’s mighty Duomo rose up defiantly through the afternoon drizzle. I couldn’t possibly turn down this opportunity, if only to make my friends eternally jealous. We agreed on a monthly figure for rent: €350, bills included. I couldn’t believe my luck.

* * *

Less than two weeks later I arrived back at OC’s, this time with two large suitcases in tow packed with all my worldly possessions. OC welcomed me with open arms and introduced me to a friend with whom she was enjoying a post-lunch cigarette. The friend offered me something to eat — some kind of sausage and salad — which I politely accepted. She seemed more interested in me than OC had on our first meeting, who again paid me scant attention, as if twenty-something British men move into her home every week, and I got the impression I was merely a footnote upon the epic nature of her own daily concerns.

The neighborhood — Florence’s affluent Campo di Marte district just outside the centro storico — was perfect. The languages school where I taught was a short walk away, as was the football stadium, which to my delight was even visible from OC’s living room. A door off the kitchen led to my room, although I should really say quarters, since I had a hall, bedroom, bathroom and balcony (which shared the same spectacular view as the kitchen) all to myself. The room was furnished with a beautifully carved wooden bed, a large wardrobe, a small chest of drawers, an antique bookcase and a brand new IKEA desk. That night I went to bed early but was kept awake by the incessant drone of traffic emanating from Viale Matteotti, the wide tree-lined boulevard running behind the next row of buildings. I’d never lived in a town even half the size of Florence, and arriving directly from Borgo made the transition even more dramatic. From my new bed I gazed at Brunelleschi’s cupola (which appeared to loom even larger at night) as the sound of buzzing Vespas peeled up and down the street. At last, urban civilization — modern and not so modern — could be seen and heard, and the next morning I felt reborn, as if I’d just awoken from a five-month socio-cultural slumber.

OC had two beautiful children from her dissolved marriage, a girl and a boy. Though their father lived just a five-minute walk away, only one divided his time between both parents; the other (the daughter, who was older) had chosen to live permanently with her mother. Their dad lived a short walk away in Piazza d’Azeglio. I spoke to him a couple of times on the phone, and even met him once. He wasn’t particularly friendly, but then his ex-wife had suddenly taken in a foreign man half her age, so I couldn’t really blame him for being skeptical. I remember a divorce lawyer coming to the house a few times, but I never asked OC about him or why they separated. She once suggested it was because she liked to watch Stargate and he didn’t, which I supposed was as good a reason as any.

OC’s daughter was a typical Italian twelve-year old, her interests revolving mainly around horses and the British boy band Blue, yet she was sassier than most kids her age and seemed genuinely excited by this unconventional domestic set-up. Her son turned ten shortly after I moved in, and life was certainly more hectic (and louder) when he was around. Mealtimes were particularly chaotic: all three would eat at the kitchen table, and from my nearby room it seemed at times as though they were competing with the TV to see who could make the most noise.

I would often be asked to join them for dinner, an offer I readily accepted out of polite gratitude but also based on the fact that the combined din of two excitable kids and the blare of Italian primetime television made it impossible to concentrate on anything, despite the two doors which separated us. OC herself was the possessor of a booming, almost manly voice: when my Dad called the apartment and she answered the first thing he said to me was, “Who was that bloke?” Needless to say her regular breakfast phone calls to patients and colleagues soon meant I no longer required a conventional alarm clock. OC could whip up a pretty tasty pasta or roast pork, and was also fond of cooking homemade hamburgers. When the weather got warmer she regularly made gazpacho or panzanella for lunch. I enjoyed eating and watching cartoons with the kids, and in those early months we’d often engage in epic after-dinner soccer matches in the hall which would last until bedtime (or until somebody got hurt by slipping on the tiled marble floor). This was certainly preferable to spending the evening trapped with OC, for once the kids were out of sight I began to understand just what kind of person she was.

As was my initial impression, it was soon confirmed to me that OC did not excel as a conversationalist. What she did do well were monologues, and could talk quite happily for long periods without interruption. Of course, any interjection on my part was unlikely as she limited herself to discussing subjects which I knew little or nothing about: Etruscan ceramics, the commercially unsuccessful films of Gérard Depardieu, or her trip to Greece in 1971. It soon became evident that any topic in which I might offer any relevant input was strictly off-limits. When talk did turn to the everyday my opinions on food or life in Italy held absolutely no weight whatsoever by pure virtue of my being British. Conveniently, OC claimed not just her Florentine status, but thanks to her parents was also equal parts Roman and Venetian, and despite never having lived there seemed to understand everything there was to know about Naples too. With four of the country’s major cities among her areas of expertise, any comment I had to make about Italy could be dismissed in an instant. Meanwhile, OC remained completely oblivious to my own life and background.

I soon realized these were the classic traits of a very insecure person, and I began to feel some pity towards her. There was something sad about the fact that all her lengthy anecdotes recalled events which took place at least twenty years ago, as if her life had somehow stopped after having children. Sometimes her stories weren’t even first-hand: I remember one evening she recounted a lengthy tale about a friend of a friend who’d become involved in a complex romantic triangle while living in Brazil (which wasn’t as exciting as it sounds). OC’s highly elevated sense of self-importance was evident not just from her choice of subjects but also her preference for the supposedly intellectual channel Rai Tre (the third station of Italy’s state network RAI), as well as her refusal to let others speak. When a lengthy story finally drew to a close she would abruptly switch off the television, utter a one word goodnight (“Notte!”) and march out of the kitchen, like a performer exiting stage right as if to deliberately avoid the scorn of critics. Of course, there were no critics, just a speechless and weary audience of one.

After dinner OC and the kids would get ready for bed almost immediately, so by ten o’clock each night I pretty much had the run of the place. They never sat in the big living room where OC and I had had our first meeting, and rarely did I, preferring instead to work in my room, or practice my saxophone. Sometimes late at night I’d sit on the balcony with a cup of tea and admire the breathtaking panorama of floodlit Renaissance architecture. To my good fortune the other bedrooms were on the opposite side of the apartment from mine, so I could even listen to music at night without disturbing anyone. Rather than use the large double-doors, OC gave me keys to a side entrance into the kitchen, allowing me to come and go as I pleased. This arrangement worked just fine, although in the first three months I became locked inside the apartment on two separate occasions.

OC’s huge bedroom with en suite was dominated by a large bed, giant wardrobes and the strong pervading essence of Chanel. Despite the ample closet space her shoes and clothes were routinely strewn about the room like those of a messy teenager. Both kids had their own rooms and shared a bathroom, which was inevitably something of a disaster: clothes, toys and dirty towels littered the blue-tiled floor and the mirror was smeared with pre-adolescent messages scrawled in lipstick. It did not take me long to discover the kids took after their mother, at least as far as general tidiness was concerned. OC’s organizational skills left much to be desired, even for an Italian. Her office, or study, or whatever you wish to call it — personally I considered “bombsite” a more apt term — was the area worst hit. An explosion of open drawers overflowed with countless white boxes of drugs and pills, while hundreds of white paper sticky notes bearing the name of various pharmaceutical companies (the kind that doctors are given free bundles of at conferences) were scattered throughout like fallen leaves. There was a dining table in the middle of the room which was never used for dining, or anything else for that matter, as every inch of its surface was covered in the same mess.

Likewise, the kitchen table had to be cleared of bills, homework, junk mail and more of the same sticky notes each day before it could be used for eating. Most of this clutter would be unceremoniously dumped onto the nearest chair, which meant in order to sit down the same clutter in turn had to be placed onto the kitchen floor, where invariably it would remain, sometimes for several weeks. Incredibly, this untidiness had apparently extended to the interior of OC’s car — a white ’95 Honda Accord — which was identifiable by the mountains of mail and sticky notes piled upon the passenger seats. Ironically, despite all those sticky notes OC was forever without a scrap of paper to hand, so whenever she needed to jot down a phone number or an appointment — or even when helping with math homework — she would simply take a pencil and write directly onto the white kitchen table. Her later attempts to clean her scrawled notes only transformed them into unsightly grey smudges.

OC appeared equally comfortable writing on any surface of her home: upon the white-washed kitchen walls she would record her kids’ heights — and mine — at monthly intervals. I had several years (and feet) on these two Italian tykes, but unlike them I wasn’t getting any taller, so my height remained represented by a crude unwavering pencil line six feet off the ground, next to which OC scrawled my name erroneously as JAMENS. This proved another ridiculous burden I had to live with. What began as an innocent child’s mistake (my name had been entered with an unwanted “N” as we played a computer game) soon took on a life of its own, and I quickly became known as “Jamens” (pronounced Yah-mens) by the entire household. While I initially took it as a sign of affection the habit soon began to grate, particularly when OC called me by this name in front of people or when discussing more serious matters.

* * *

After six months OC and I had settled into a pretty comfortable routine, though we led completely separate lives. I ate with her and the kids less and less, for fear of being subjected to another installment of The OC Show. Instead I’d eat in a hurry before they did, often twice a day, making sure instead to always take advantage of the rare occasions when they were out. As soon as the weather warmed up, OC and the kids would spend entire weekends at their holiday villa on the island of Capraia, a two-and-a-half hour ferry ride from the Tuscan port of Livorno. Sometimes they invited me to come with them, usually at the last minute, by which time I’d usually already have social or work commitments. On the occasions when I had no weekend plans I declined the offer anyway: though the thought of relaxing on a Mediterranean island was hugely appealing, spending an intense weekend in OC’s company was considerably less so. I’d begun to value my infrequent moments of personal time more highly than anything, and those weekends home alone were more fun than I’ve ever had on any beach.

One Saturday morning in early June OC and the kids left to catch the ferry for the weekend. They wouldn’t be back until Sunday night, and so I’d decided to make the most of their absence by hosting a little party. The second they were out the door I set about getting the apartment into shape: I removed the mail and sticky notes from the kitchen table, and cleaned the kitchen floor, off of which I recovered (in addition to the usual paper products): a stale, gnawed piece of bread, assorted shapes of dried pasta and a stray pair of girl’s underwear. Having finished scrubbing every surface I had just begun preparing food when I heard a key in the front door. Panicked, I had no time to react before OC was standing in the kitchen. Turns out they’d missed the boat, literally. “Abbiamo perso la nave!” she bellowed, almost proudly, like a tipsy old sea captain bursting into the harbor tavern. Naturally, she was oblivious to how her disorganization had ruined my own weekend. (When I finally got the chance again to throw the party — almost a year later — I named the event Mamma, ho perso la nave, literally “Mommy, I missed the boat”: a direct reference to my previous hampered attempt to play host and to the movie Home Alone, which in Italy is called Mamma, ho perso l’aereo.)

You may wonder why I put up with such limited freedom (not to mention OC’s eccentricities) for so long, but for all the valid reasons for moving out there were others which kept me at Via Pier Capponi. That view for starters. Plus, I was paying less in rent than everyone else I knew in Florence and had no utilities. Best of all, in summer OC and the kids would relocate to Capraia for most of July and August, leaving me free to bask in a sun-kissed, Mastroianni-inspired, fantasy life. On Saturday mornings I’d buy La Gazzetta and La Repubblica and read them (and their glossy magazine supplements) over breakfast in Piazza Strozzi, before heading home for lunch and an afternoon tanning on the balcony. In the evenings I’d pour myself a Campari Soda while preparing dinner (a luxury in itself), after which I’d retire to the soft grandeur of the living room, where I’d listen to music, watch meaningless pre-season soccer friendlies or even indulge my passion for classic Fellini. OC had left me the keys to her bike, which meant if I wanted to meet friends for a drink I could be on the other side of the Arno in less than ten minutes. One Sunday morning I woke up early and rode into town. I circled the narrow streets and vast piazze, usually thronging with tourists but now instead deserted, as if I’d stumbled upon an abandoned film set.

The pleasure of those two months was enough to keep me in that apartment for over two years, even though I knew my idyllic lifestyle was destined to end as soon as OC & Co. returned to Florence. In their extended absence the apartment had become all mine, a spotless paradise cultivated in my own image. I even transferred my stereo into the living room, where I’d lounge and plunder through my collection of classic albums. Sadly, this perpetual bliss was punctured the second OC’s front door key twisted the lock. Immediately, it was as if they’d never left: bags were thrown on the floor, clothes were dumped on the backs of chairs and clutter — keys, mail, toys, whatever it may be — were laid to rest on any available surface. I retired to my room and began calling up my friends in search of an escape.

Having become so accustomed to having the place to myself, when OC and the kids returned I’d look for any opportunity to stay out of the house. When friends suggested meeting for dinner or a drink I never hesitated; when no such offer was forthcoming I’d be content to roam the streets for as long as I could, until, defeated by cold or hunger or both, I’d reluctantly return home. If I could wait until ten I’d generally be guaranteed to avoid running into OC, which in part made me quite willing to work long hours at the languages school where I taught. Sometimes I’d go out for a drink or a pizza with students or colleagues, other times I’d go directly back to a now silent apartment. If OC did happen to still be up past ten, I’d often walk into the kitchen to find her watching TV, at which point she’d thrust a glass of limoncello into my hand. “Chi non beve in compagnia o è un ladro o una spia,” she’d say to me, which literally translates as, “He who doesn’t drink in others’ company is either a thief or a spy.”

Before I could respond, or escape, OC would launch into one of her famous monologues, perhaps a predictable anti-Berlusconi tirade or simply a depressing review of contemporary Italian society’s general malaise. Let’s just say OC didn’t do small-talk. As a self-proclaimed Florentine, she was the first to criticize the city for its problems and shortcomings, but also quick to defend it. If I’d been to a restaurant for dinner, rather than ask me where I’d eaten or how the meal was she’d simply scoff, “Ha! Us Florentines would never dream of eating out in the centre of Florence!” Once she asked me completely out of the blue if I’d ever been to Venice. I had, though not in about fifteen years, but thinking fast I answered, “Yes, many times.” I could actually see the disappointment on OC’s face, as this meant she had to limit her speech to just five minutes, and the hour-long lecture to which I would otherwise have surely been subjected would have to wait for another time, or another unsuspecting victim.

Any pity for OC this scene may invoke should be disregarded immediately. I did pity her, but her situation was caused purely and solely by her complete social ineptitude. The few friends of hers I did meet were very nice, and always showed a much greater interest in me than she ever did. They never failed to compliment me on my Italian, something OC herself never once acknowledged. Perhaps predictably for someone with such vast insecurities, she clearly began to resent me for having any kind of social life of my own, and on the rare occasions when my friends and OC did cross paths she was usually rude or at the very least inappropriate. One stormy Sunday night a colleague, SM, an at times painfully polite British woman and a dear friend, came over to pick me up on the way to the movies. OC was ironing in the kitchen when I introduced the two women to each other. “Have you come to prepare lessons together?” she sniggered between drags on a cigarette, before letting out a nicotine-induced chuckle. SM, clearly taken aback, seemed forced to defend herself. “Actually, we’re just going to the cinema.” Sadly OC’s pathetic comment was pretty typical, which is why I avoided inviting people over unless I could guarantee that she wasn’t going to be around.

I’d been at Via Pier Capponi for little over a year when I became involved with JP, an American woman whom I’d originally met in the spring of the year before, just a couple of weeks after moving to Florence. JP was visiting Florence for the summer, and spent several nights at the apartment, though we usually only returned home after midnight. One Saturday afternoon we ran into OC as we were leaving the house, just as she and the kids were sitting down to lunch. The kids waved ciao and OC herself seemed perfectly at ease with the fact that a girl had spent the night in my room. I was twenty-six after all — could she really be surprised?

The summer rolled on and JP and I spent many more nights in the apartment together, including whole weekends while OC was in Capraia. Officially, JP was staying in the apartment of a mutual friend, who was also out of town, so other nights we’d stay at her place. JP left Florence at the end of June, by which time OC and the kids had moved to Capraia for July and August. When they eventually returned from the island, almost two months later, OC took me aside as I boiled water for a cup of tea. “James, don’t bring people into the house,” she told me coldly. “It’s a problem for the kids. And a problem for my ex-husband.” It struck me as extremely inappropriate that her ex-husband might be weighing in on my private life, and I knew for a fact that the kids had no problem with it (they’d even asked me excitedly about it). Of course, OC had neglected to mention the real issue, which was that it was a big problem for her. What really irked me was her use of the word gente (“non portare gente in casa” was what she’d said) as if I was picking people up off the street each night. She’d never mentioned anything about me having people over, but I don’t know what else she expected. Maybe it had never occurred to her. At that point I vowed (to myself at least) never to bring anyone else into the apartment, and to begin actively seeking alternative accommodation.

* * *

By now my motives for moving out were beginning to outweigh the reasons to stay. Though the apartment belonged to her, OC had never once attempted to adjust her lifestyle to suit the fact that I was now also living there. She showed little or no respect for my needs, and it seemed both unfair and ridiculous that I shouldn’t be able to indulge in normal social activities. And as spectacular as that view still was, it certainly wasn’t enough to make me put up with everything else. I’d also now come to the realization that OC was not just untidy and disorganized, but actually dirty. Mystifyingly, she seemed incapable of using an ashtray, and would routinely flick ash into the kitchen sink, where it would fall onto the stack of dirty dishes which remained from lunch. Once, as I attempted to clean the living room, I came across an upturned ashtray under a coffee table, its grey, powdery contents now embedded into the rug. On one unpleasant occasion I even found a partially used cigarette in my own bathroom: evidently OC had been smoking while doing laundry (my bathroom also housed the apartment’s only washing machine), and had simply extinguished it in the nearest receptacle.

Meanwhile, OC’s now teenage daughter had also become less pleasant to be around. I’d somehow been oblivious to her transformation from pony-loving child into sulky adolescent, which she’d managed to complete in the space of just a few weeks. Only months earlier I was being dragged into town by her and her friends to go shopping or helping her choose an outfit for a party at her behest. Now I barely saw her, and only reluctantly would she acknowledge me when I did. I put this down to teenagerdom but it was clear I was no longer a novelty in the household. Even OC’s generosity toward me had waned. When my wallet had been stolen a few months after I moved in she’d lent me the €60 I’d lost, now she barely gave me the time of day.

Whether she knew it or not, OC was headed fast for another divorce, this time without even getting married. By the spring I couldn’t wait to move out, and nothing about her behavior looked likely to make me change my mind. In March I left to visit JP in New York, just days after learning that my grandmother had been hospitalized having suffered a severe stroke. When I returned to Florence there was a message from my Dad telling me she’d died. “Yeah, a patient of mine died the other day,” was OC’s immediate and thoughtless response, which only demonstrated that she was even more self-absorbed than I’d originally thought.

Immediately I began consulting friends about alternative living situations and scouring the hundreds of apartment ads which litter Florence’s streets and lampposts. That summer’s World Cup gave me the perfect excuse to be out all night watching football and was a welcome distraction from apartment hunting. One weekend in June I took the train up to Milan to visit a friend on Lago Maggiore. I had no idea of the surprise which awaited me on my return.

I had an early start on Monday and was in the middle of making breakfast when OC breezed into the kitchen, still wearing her dressing gown and enjoying an early cigarette. “Buongiorno, Jamens,” she said. We never ran into each other in the mornings so I should have perhaps known this time would be memorable.

“I’ve got some news for you,” she announced, as I stood eating my cereal. “We’re moving house!” I spluttered milk onto my tie. I was genuinely shocked, and had so many questions, mostly of the what/when/where variety. OC helpfully filled me in and told me the address. “Number eleven, like the bus. We move at the end of the month.” I assumed this had all happened suddenly, but in actual fact it turned out OC had been negotiating the sale of the apartment for some time.

“I’m so glad it’s all over,” she confessed. “Because the whole situation has caused me a lot of stress.” Naturally, OC failed to acknowledge the stress that had suddenly been placed upon me, as I now found myself with less than two weeks to find a new place to live. To my astonishment, it evidently had not occurred to her that I might see this as a healthy opportunity to move out.

“Obviously, you can come with us,” she explained. “The new place is smaller, but you can share with one of the kids.” Her suggestion was so preposterous as to literally leave me speechless. My current living situation was already less than ideal; I definitely wasn’t about to make it worse by sharing a room with a twelve-year-old. Instead, I declined OC’s offer, explaining how I wish I’d had more time to figure out just what I was going to do.

That afternoon I met my friend KO for a coffee, who generously suggested I move in with her. She was about to leave for Barcelona for a month, so it seemed like a handy stop-gap solution. I began packing up my possessions into large boxes, and the night before she left moved the first of them into her studio. The new apartment was only a ten-minute walk away but it took me the best part of four days to transfer everything. Most of this work had to be carried out either late at night or early in the morning; it was the last days of June, and by mid-morning simply too hot to be walking under the beating sun, let alone with luggage in tow. On the fourth day, a Sunday morning, I ran into OC in the kitchen as I lugged the final few boxes to my new lodging. Still in her robe, cigarette in hand, she seemed confused.

“Wait,” she said, apparently struggling to grasp what was happening. “Are you moving everything on foot?” With a wine box full of paperbacks in my arms and a giant Benetton duffle bag over my shoulder I could only muster a shrugged “Yeah”. Exhausted, I slumped my cargo onto the kitchen floor, expecting her to offer to help me take the rest of my stuff in her car, which was parked downstairs. It would have been great had she suggested it earlier but I wasn’t about to refuse. At that point she continued. “Well, think of the money you’ve saved instead of going to the gym.” OC turned on her heel and exited the kitchen, stage right. It was the last conversation we ever had. I hauled the remaining bags and boxes into the elevator and left Via Pier Capponi for the final time.

The next two months were spent living in a tiny studio which could barely contain all my possessions, and when KO returned from Spain we were forced to share everything, including a bed. My attempts to find a place of my own proving frustrating, in the end we both wound up moving into a new apartment together, by miraculous convenience located directly upstairs. It was a beautiful, four-bedroom property, and the size of the place meant we had to find two extra roommates. By extraordinary serendipity the first person to answer our ad was HG, an Italian literature student who soon became my girlfriend. My new landlady, a highly strung and heavily pregnant woman clad head-to-toe in checkered Burberry, was, in many ways, the exact reverse of OC, yet together with our new roommates, still proved capable of causing me bundles of unwanted stress (but that’s another story). I finally felt my luck was changing: I was enjoying my new life and the undoubted freedom it brought me. Meantime still I had heard nothing from OC.

The months went by, then one early summer evening I was on my way to a Fiorentina game when not far from the stadium I noticed a white Honda, not unlike OC’s, caught in the matchday traffic. The car passed me as I prepared to cross the street, but the low sun’s glare gave me no chance of identifying it as hers or not. When I’d reached the other side I turned and saw a dog stick its brown head out of the backseat window, before the car itself disappeared quickly around the corner and out of view. Knowing OC didn’t have a dog, I could only assume it had been somebody else.

The following afternoon, I was sitting reading the paper when my phone beeped. It was a text message from OC! Turns out the white Honda had belonged to her after all:

“Evitare il saluto è un gesto scortese privo di buoni motivi. Buona fortuna.”
“Avoiding a greeting is an impolite gesture without motive. Good luck.”
(It should be pointed out that to genuinely wish someone luck in Italy one says “In bocca al lupo” or “into the mouth of the wolf”, to which one always should reply “Crepi” or “Death to the wolf”; OC’s use of the literal term “good luck” was clearly meant in a less than positive, dismissive sense.)

Almost a year had passed since I’d moved out and this was the first time I’d heard from her. Not a phone call to see where I’d moved, not an invite to their new place for dinner, not even an SMS to check I was still alive — until now. I debated over replying for several minutes; on the one hand it was such a resentful message I didn’t want to give weight to it, but at the same time I didn’t want her to go through life thinking I was the one with the problem. So I wrote back explaining that I hadn’t seen her and if I had I’d have naturally said hello. Perhaps unsurprisingly, I never heard from her again.

HG and I moved out in June, and it wasn’t many months later that we found ourselves in New York. Sometimes, when I’m watching Fiorentina on cable television, or even if I hear an Italian voice on the street, my mind drifts back to Florence and begins to reminisce. I wonder what OC and the kids are up to now. I think of her blaring voice, the cigarettes and those endless monologues. I remember scorching, Campari-drenched afternoons on the balcony, and long winter nights with just Chet Baker and Amaro Lucano for company. You might call such recollections of Via Pier Capponi affectionate, nostalgic even. And maybe that’s what they are. But the only thing I ever really miss is that view.

Scenes From an Italian Restaurant

Though I try to keep this website up-to-date with what’s going on in my New York life, there is one tale I have yet to tell. In fact, the subject matter is of such a dark and depressing nature I have had to wait until the onset of Spring to even discuss it. And after I write this, I hope to erase the entire experience from my memory. Here goes.

Around mid-January, I found myself to my surprise, still in New York, but also jobless and soon-to-be-homeless. Having exhausted all other avenues of potential employment I became desperate, and began handing out resumes in every cafe, bar or restaurant where I thought I could stand to work. With no prior experience in the food and beverage industry I was compelled to make up a phony resumé which stated I had worked at various places in Italy. I deliberately chose places where I used to hang out, the thinking being that if probed I could probably invent a believable answer. To my surprise I was granted an interview on the Upper West Side at Nice Matin, a spacious brasserie-type restaurant on the corner of Amsterdam Avenue and 79th Street, in the same building as the Hotel Lucerne. That afternoon on the way over there I dropped my resumé off at a small unassuming Italian ristorante a block further up and across the street. This turned out to be my first (and biggest) mistake.

I didn’t get the Nice Matin job as I wasn’t legal, but a couple of evenings later I got a call from the other restaurant, and the next morning I went to meet with the manager, a slightly tense woman (let’s call her M). She wanted someone to answer phones, make coffees, serve desserts, and whip up the occasional cocktail. It sounded like an easy and fun gig, so I started the next evening.

I thought my Italian experience would help, though I was clearly hired for this particular job as none of the current employees spoke decent English. I spent most of my time on the phone taking orders, which could often get out of control (especially when busy New Yorkers call for a delivery of “penne with butter”). My other duties included making coffees and cocktails (neither of which I was yet capable), serving desserts, operating the cash register and keeping track of delivery boys’ tips. At the end of the night I’d count the register, give the night’s takings to M and wrap a drawer amount of cash in a rubber band and place it in a tumbler in the back of the fridge. M turned out to be not only tense but also uptight: the kind of micro-managing, hands-on, control freak of boss I hope never to encounter again. She would criticize everything I did and generally treated me like a small child, permanently breathing down my neck. After a couple of weeks I realized I was in hell, but I needed the money so badly I had to stick it out. It was frustrating because I’m sure some restaurant jobs can be fun. This one wasn’t.

The place itself would get very full on weekends and quite stressful. This was the only restaurant in the western world which still uses the carbon paper check, which means to change something requires crossing out and rewriting on three separate pieces of paper, resulting in lots of scribbling and many screwed-up orders. You try mixing a flirtini, slicing a strawberry to be served atop a panna cotta, and making three decaf espressos while on the phone with an angry Central Park West resident who wants to know what happened to her side of grilled zucchini. Sometimes when the delivery boys were extra busy I’d be sent on foot to deliver food locally. This was always a thrill for three reasons: 1) it was a sudden chance to escape the hell of the restaurant and call home; 2) I’d invariably receive a handsome personal tip; 3) and more importantly, I’d be afforded a sneak peak inside the home of an affluent Upper West Sider.

M herself knew very little about Italian food or wine, believing penne alla vodka or spaghetti and meatballs (her bestselling dishes) to be the height of European sophistication. She also refused to acknowledge that someone could be more informed than her on this (or any other) subject. I got the impression she felt she was doing people a huge favour just by letting them eat in her restaurant, and I felt her general the-customer-is-always-wrong philosophy was an unfortunate attitude with which for someone in the hospitality business to be burdened. On many occasions people took issue with her petty rules and extortionate drinks prices. I ended up losing count of the people who left the restaurant abruptly saying something to the extent of “I’m never coming back.” She’d often tell busboys off with the line, “This is not a diner,” which she’d repeat, almost like a mantra, as if it were her who needed convincing.

The food actually wasn’t bad and we had a number of regulars, including author Philip Roth (who always ordered a Sprite with no ice). Michael Richards (Kramer from Seinfeld) ate there one Friday night, and former mayor Ed Koch came in once before quickly realizing he was in the wrong restaurant (this happened often). I also took several orders from the McEnroe household on Central Park West. Sadly employees weren’t treated to the same fare, but the nights were so long I’d actually look forward to my eleven o’clock bowl of over-cooked rigatoni swimming in thin watery tomato sauce washed down with a tumbler of Diet Pepsi.

A further sign of her rampant paranoia, M spied on us through a small camera connected to a computer located in an office upstairs, and when she wasn’t in the restaurant she would call to tell me not to talk to the other waiter or to ask the busboy not to stand in the window. Employees weren’t allowed to try the actual dishes we served, so when customers asked I had to say something stupid like “I wouldn’t know actually, but it sounds nice.” During the long day shifts, when the restaurant was generally empty, I wasn’t even allowed to make myself an espresso. When I decided to change the CDs in the CD changer (there’s only so much Norah Jones and k.d. lang a man can take) M scolded me for going through her private things. One day I saw actor Jerry Stiller (Frank Costanza on Seinfeld and Ben Stiller’s dad in real life) walk past the window. I wanted to chase after him shouting “SERENITY NOW!”

One particularly slow afternoon in March was livened up by an unexpected visit from the Health Department. Panicked, M immediately sent me upstairs to try and keep silent the cat which lives in the restaurant, but I guess she didn’t count on the inspectors finding the open can of cat food in the fridge. “You got a cat?!” one of them exclaimed. I could barely contain my laughter. M made up some lame story about the cat being there because her son was allergic, and they let it slide. That cat — whose name was Fusilli — was arguably the most ridiculous aspect of a ridiculous job. At the end of the night we’d have to take it out of its cage, feed it and then barricade it in the kitchen, where it would no doubt eliminate any vermin that tried to enter. Of course, before being tucked in for the night, Fusilli enjoyed roaming like cats do around the dining room floor and under the tables, and we were often let out several minutes late as Pedro the dishwasher chased after it with a napkin. On these occasions I’d just stand in the window and try and focus on the NBA game on the TV in the restaurant across the street.

As the weeks progressed and began to care less and less about the restaurant there were several changes in personnel. Bussers and delivery boys would rotate as often as the week’s specials, but the restaurant also went through its share of waiters. When the Nepalese head waiter suddenly quit, a series of potential replacements were brought in, none of whom lasted longer than a week. One of them was a tall American man. Around thirty minutes into his first full shift his face had already turned ashen with horror. Needless to say, he failed to show up for his next shift after his girlfriend suffered a “freak injury rolling out of bed.” M also rehired a girl from Staten Island, who had worked at the restaurant previously before leaving to perform as a dancer in Las Vegas. Now, back in New York, she had agreed to return to her old job, which was evidently much worse than she’d remembered. About two weeks later she landed a mysterious position aboard a cruise ship.

During my time at the restaurant I was working days at at a marketing agency in SoHo (another disappointing experience, but that’s another story) and nights at the restaurant, which meant leaving the house at eight in the morning and getting home after midnight, or after one on the weekends. Since I wasn’t technically a member of the waitstaff I wasn’t earning tips, but sometimes the head waiter would slip me two or three bucks which meant I got to eat a bagel or pizza slice for lunch the next day around 4:30pm before my shift started. So I was barely eating proper meals, and when I did it was sloppy pasta cooked by a tired little guy named José. I was spending more waking minutes per day hanging around on a Times Square subway platform watching the rats scurrying under the tracks than at home. And eventually I reached a point where I couldn’t take it anymore. In my final week at the restaurant M had just about pushed me to breaking point, criticizing my telephone manner, which she called “abrupt” (this after I’d answered the phone fifty times a night for the last three months) and even questioning my personal hygiene. So one day I called her saying there was work stuff I couldn’t get out of.

A couple of weeks passed, and I had still to receive my final check, so I went back one evening after work to ask for money. On one of my nights off, Paco, a smart former busboy who was still owed cash, had shown up on a Saturday night with the NYPD in tow — perhaps the one time I’d wished I’d been at work. I arrived alone and M, without as much as a hello, told me I couldn’t call her on her cellphone, then berated me for leaving so suddenly and accused me of having “convenienced myself.” This was the tête-a-tête I’d fantasized about. I could have said she was lucky I’d lasted two and-a-half months longer than her average employee. I could have told her that she was the most ungracious, unprofessional person I have ever come across. I could have told her keeping a live cat loose in the kitchen is a Condition IV violation of Code 4P of the New York City Food and Restaurant Services Act and that I could have her shut down with one phone call. But it really wasn’t worth the trouble — I wanted to rid myself of the whole scene, and erase the last three months which had unexpectedly managed to tarnish what was one of my favourite neighbourhoods in Manhattan. So I bit my tongue and walked out of there.

As far as I know the place is still in business, and to this day I still suffer from a slight nausea whenever I’m on the Upper West Side.

MoMA

It was exactly four months ago when I discovered I’d be spending the fall of 2007 working at The Museum of Modern Art. I had long dreamed of the opportunity to live in New York City, yet never imagined it would arrive in the form of an internship at arguably the world’s finest Modern Art museum. A heavy application process (including three essays) had ended with a carefully coordinated trans-atlantic telephone interview with a certain Larissa Bailiff, MoMA’s internship coordinator. I was extremely nervous beforehand, and spent that morning researching extensively the museum’s current and upcoming exhibitions. Fortunately, Ms. Bailiff immediately put me at ease, and we settled into a breezy chat which lasted over forty-five minutes. I like to think my British charm and wit over the phone was what secured me the position of marketing intern, as less than a week later, I received confirmation via email that I’d be spending the next three months stateside. I barely had time to obtain my visa and update my iPod before I was jetting off across the Atlantic to confront a healthy mix of the familiar and the unknown.

Having spent the last four years livin’ la dolce vita in Italy, how would I cope when suddenly tossed into the ultimate modern metropolis that is Manhattan? Quite well, as it turned out: all those years spent studying the city combined with intensive previous visits had earned me something of an honorary self-taught degree in Newyorkology, and I felt confidently able in dodging such infamous New York pratfalls as subway navigation, the delicate art of tipping, and the correct pronunciation of Houston Street.

It seemed like an eternity before I finally had to go to MoMA on Monday morning. In my eagerness I had arrived spectacularly early, and spent almost an hour reading in Central Park before I was due to meet Ms. Bailiff and the other interns. When I arrived at the entrance to the Cullman Building on 54th Street I was informed by the receptionist that the other interns had elected to go to Starbucks. Putting aside my usual boycott of the Seattle-based coffee giant I walked over to Sixth Avenue where I met three other interns — from Connecticut, Los Angeles and Paris. I was surprised to discover such an international bunch — something had told me I’d be the sole Brit. Instead nearly all of North America and Europe was represented. I was relieved to find all the interns smart and instantly likeable, yet I felt a bit like a reality show contestant meeting my competition rivals. I suppose this would make Larissa Heidi Klum. Larissa in person was as I had found her to be on the phone: warm, friendly and a very entertaining speaker, to the extent that a side career in stand-up comedy would not be out of the question.

After our welcoming talk and initial introduction I met my supervisor Julie Welch, who immediately struck me as bearing an uncanny resemblance to the actress Annette Bening. Julie gave me an extensive behind-the-scenes tour of the museum before introducing me to the rest of the marketing team, including marketing coordinator Zoe Jackson and director Peter Foley. She then showed me where I’d be working: a tiny cubicle the size of a phone booth (but without the windows). When Peter suggested to Julie that I’d go crazy in there she gave me the option of sharing the back office with three other interns. But for some reason I chose to stick with the private cubicle, despite its lack of space. I took off my jacket and got down to work.

Though I never quite got over the fact I was spending most days sitting feet away from all those Picassos and Pollocks, it wasn’t long before I began to feel more at home within the field of marketing, a feeling which was enhanced when I attended our weekly marketing meetings. These would generally last under an hour, but I was fascinated to learn first hand of the department’s operations (as well as interdepartmental gossip). One day Zoë gave a report on her visit to Tate Modern, and it was interesting for me to hear how the Tate’s marketing department compared with that of MoMA. I was also amused to hear my colleagues’ take on their London counterparts, and it seemed odd to think I was on the New York side of things. Peter was an impressive director with a sharp sense of humour. I admired his absolute support for his department and the confidence he showed in forcing his opinion for the good of the museum.

By this time Julie and I had begun working closely on a guerilla advertising project, for which we held a meeting with two of Downtown’s hottest young media talents. They were “humbled” to have been contacted by MoMA and enthusiastically bombarded us with ideas, from posters to a MoMA blog (which they felt I should write). It was from this meeting that I began to expand on the MyMoMA idea, a concept I’d originally toyed with before my arrival in New York. MyMoMA is essentially a two-fold idea: 1) a fun, alternate MoMA brand designed to introduce the museum to a younger audience, and 2) a prepaid card with which a larger proportion of the city’s inhabitants could gain regular entry to the museum. I created a marketing outline for MyMoMA, including possible advertising techniques. The guerilla media project never got past the concept stage, and it was frustrating not to be able to follow it through. That’s something I soon learned about MoMA: as cool as it may appear from the outside, in reality it’s also a big business, and ideas must go through everyone from curators to directors to trustees themselves before you see anything happen. While I think the department was generally satisfied with my performance, I don’t feel like my work challenged me enough, and nor was I given the opportunity to show my full potential or range of skills. Of course much of this was due to the relatively brief three-month period of the internship itself.

Perhaps the most pleasurable aspect of the experience was the friendships that came about among myself and the other interns. Even Larissa said we were an especially terrific bunch. We’d all meet once on a Tuesday for our intern lecture, which each week focused on a different department within the museum. One week we were even granted an audience with museum director Glenn D. Lowry. I asked him why the museum was so expensive yet only stayed open until five o’clock, a question to which he seemed unable to provide a satisfactory answer.

I’d often meet my fellow intern buddies for lunch at Remi To Go or coffee at Zibetto Espresso Bar, while an ever-expanding group of us began to enjoy regular evenings at parties in Chelsea or bars on the Lower East Side. I would have ideally liked to have taken more advantage of the various perks offered by the internship, but somehow my plan to visit every New York museum on my days off was never fully realized. My volunteer work for NYC CultureFest and PERFORMA 07 kept me busy, as did frequent trips to West Virginia and Florida. I was probably too caught up in the excitement that living in this remarkable place inevitably creates. I often felt overwhelmed after work when having left the office at 5:30 I was suddenly faced with an entire city at my disposal. Some nights I would walk all the way back to my East Village apartment simply for the pleasure of being on the street, taking it all in.

The internship provided me with a truly unforgettable experience and made me the envy of almost everyone I’ve ever met. I learned a lot about MoMA, museums, marketing and working in the United States. It helped me focus my career in a more specific direction, and confirmed my suitability to this particular field. I met some great people, and the whole thing just flew by, as I knew it would. My long-term plan is to remain in New York, and a great deal of passion, patience and dedication is required in order for that to happen. Yet even if I do one day work in Manhattan again, nothing will ever quite compare to the feeling of strolling down Second Avenue and jostling with New Yorkers aboard the V train up to 53rd Street, where my very own midtown office — OK, cubicle — was waiting just for me.

PERFORMA 07: A First-Hand Review

Through a colleague at MoMA, I’d become aware of something called PERFORMA, a performing arts foundation founded by Roselee Goldberg. I was offered the chance to volunteer for this year’s month-long biennial, PERFORMA 07, and without a real job and lots of extra time on my hands I said yes. At a meeting at the PERFORMA office I was gifted a red PERFORMA (you’ll have noticed by now that PERFORMA is always written in capitals) tote bag and assigned to assist with various projects, performances and what I guess they used to call “happenings”.

Allan Kaprow invented the term in the 1960s with his 18 Happenings in Six Parts, a redoing of which I went all the way to the Deitch Gallery in Queens to witness, though frankly I wish I hadn’t bothered. I’m sure it’s a lot more enjoyable if you’re high out of your mind (or if it’s 1966), but to a 21st century audience the whole thing felt very dated and silly.

The next day I went to Washington Square Park to help set up a giant game of mahjong — you know, that sort of Chinese version of dominoes. This piece was conceived by He Yunchang, China’s most renowned performance artist. Of course, as China’s most renowned performance artist, He insisted on performing completely naked. So after we’d spent all afternoon lugging a thousand painted breeze-blocks from the Judson Memorial Church into the park, the artist appeared wrapped in a sheet, which he soon abandoned in order to play the game. I became roped into playing since we were short in numbers, but since I’m not a renowned performance artist I was allowed to remain fully clothed. After about twenty minutes a somewhat amused NYPD showed up and He Yunchang was asked to put his jeans back on, after which the crowd which had gathered quickly dispersed.

The next day I joined a group of students (and artist Zack Rockhill) in Cooper Square to construct an open-top rectangular igloo using enormous blocks of ice. This was a challenge which was overcome by teamwork and an overwhelming desire to go get some coffee. But everyone agreed the end result was quite beautiful.

The next day I was back at MoMA to assist a backwards march through the museum lobby, as a hundred or so pensioners, children and other people with nothing better to do on a Sunday made their way from East 68th Street to Times Square. Miraculously no-one was hit by a cab, though had they been they’d have struggled to garner my sympathy.

At the Saatchi & Saatchi Gallery on Hudson Street I was asked to attend the opening party of Ulla Von Brandenburg’s La Maison, in which 8 millimetre footage of an old French chateau is projected onto a dark sheet within a maze of brightly-coloured sheets. The whole thing was so dull that one visitor mistook the messy area backstage as part of the exhibit. I was reminded of that David Sedaris story where the guy calls his pile of dirty laundry “an interesting piece”. Fortunately, I was handed the task of tending bar, which proved to be a highlight — if I wasn’t getting any money I was damn sure gonna get me some Grolsch.

Afterwards I squeezed into hip Lower East Side nightspot The Box for Sanford Bigger’s The Somethin’ Suite. Apparently Erykah Badu and Lou Reed were there but I missed them both. That weekend I witnessed another bizarre performance, this time at The Atrium at 590 Madison Avenue. Spider Galaxy was the work of Mexican artist Carlos Amorales, in which a grown woman dressed as a brightly-coloured bird skips and flaps around a wooden “spider’s web” stage for ten minutes before flying/running off in the direction of NikeTown. I sat through the performance twice before also running off in the direction of NikeTown.

After all this volunteering it was about time I got my own back, and was thrilled to be given the chance to play the role of “heckler”, in Yvonne Rainer’s RoS Indexical at the Hudson Theatre on West 44th Street. In what was my off-Broadway debut, mid-way through the performance I was required to lead a bunch of “angry” audience members on-stage to confront the dancers. After the show I ran into Mikhail Baryshnikov for the second time in a week as he exited the theatre (I’d also spotted him days earlier on East 4th Street as I waited for my laundry).

The finale and after-party were held at the Hudson Theatre on Tuesday, although after three weeks of PERFORMA I was more than glad I had tickets across Broadway to see Brazilian folk-singer Caetano Veloso, which I am pleased to say was the best performance I’ve seen this month.

Welcome to the Future

It was a humid evening when I arrived in New York last Friday night. Aching and weary having spent most of the day aboard a Lufthansa jet, I was immediately awoken by the series of advertisements which greeted me at JFK Airport. As I made my way through the endless maze of corridors leading to immigration, my eyes were bombarded with the repeated image of what appeared to be a sort of executive Etch-a-Sketch, but which upon closer inspection was in fact a device they’re calling the Sony Reader. Some very clever people in Japan had figured out a way to compress multiple hardback books into one small tablet of brushed metal, allowing an author’s life’s work to be slotted into a holiday-maker’s carry-on luggage.

Upon learning of this revolutionary product for the first time, two thoughts immediately struck me. 1) If the Reader is a success – which means within a year or two we will be adding it to that cluster of gadgets we all believe we can’t leave the house without – what will it mean for the future of the printed page? Will books become obsolete? It certainly won’t help reverse the youngest generation’s already concerning preference for electronic screens over pens and paper (though could go some way to correcting posture among schoolchildren). 2) How long had I been on that plane?

I first came to New York City as a wide-eyed, highly impressionable 20 year-old. It was the sweltering summer of 1999, and I was achieving an ambition which had stood firm since childhood and throughout my teens, one which for some reason I had never imagined possible. As a boy, New York City may as well have been another planet, so remote seemed the possibility of ever visiting. The few people I met who said they had been left me in awe. Though apparently unattainable in reality, thanks to television New York was accessible daily. I became all too aware of it, and the attraction was something not even my overworked imagination could fathom. What I saw was a tough, gleaming city crammed with the tallest buildings and coolest people, where danger, excitement or something else entirely lurked on every street corner, and where the traffic and the music never stopped. It was the city for me.

Armed with a pocket fold-out map and my Pentax K1000, I spent every waking minute of that week absorbing the city like a sponge, memorizing every detail, taking in (and photographing extensively) every skyscraper, monument, museum, hot-dog stand and fire hydrant along the way. And I walked everywhere (though there’s nothing quite like the thrill of hailing your first yellow cab). I stayed in a hotel on the Upper West Side, and the greatest feeling of all was simply being on the street, strolling up and down Broadway, eating pizza by the slice, chatting with strangers and briefly living a life that could only ever be make believe. I went home with a case of NY-emblazoned merchandise and eleven rolls of exposed film, a changed man.

A lot had happened in the relatively short period which had ensued. Some would say the world had changed, but had New York? For better and for worse, it had, and it was a different kind of breathlessness which overcame me as Manhattan’s skyline rose into view from my taxi window. Reports claimed that crime had been declining since the nineties, when Giuliani began cracking down on the most minor offences, a trend which was supposedly continuing under Mayor Bloomberg. Meanwhile, the spectacular success of certain businesses had begun to monopolize retail space in Manhattan, resulting in a noticeable effect on the city’s physical appearance. There now seemed to be a Starbucks on every block, even in the traditionally less commercial neighbourhoods. In the Theater District, the vast billboards and blinking neon of Times Square had given way to Disney animation and state-of-the-art video graphics, which succeed in rendering even the Coca-Cola logo unrecognizable.

On the city’s not-so-mean streets, the NYPD’s azure blue Chevrolets, once immortalized by television cop shows, had been traded in for a fleet of nondescript white Fords. Those bouncing Taxi-era checkered cabs were long gone – now yellow minivans with electric doors drove tourists from airport to hotel. I read that all NYC taxis will be hybrid 4x4s by 2012. I’m all for saving the planet, but if I wanted a green city I’d have moved to Stockholm. Most shocking of all was that in response to its increasingly international population, every last one of New York’s iconic WALK/DON’T WALK lights had been replaced with a universal walking man/red hand. Now whether crossing Delancey Street or Abbey Road, the experience had become (almost) identical.

Practical types will say that change is inevitable, that cities must continue to evolve in order to survive and stay vital, and I’m sure even many locals would have not noticed or cared about such relatively minor alterations to their city. But for reasons however superficial, I was becoming slightly disillusioned. Here I was, finally living in Manhattan, and not a DON’T WALK sign in sight. I began to wonder if even the humble pretzel vendor’s days were numbered. It was as if the New York I had always imagined, the city I’d inhabited in adolescent fantasies, was suddenly being transformed and taken away. Had I arrived too late? But it’s like when you meet people who say, “You should’ve been here thirty years ago.” What am I supposed to do about that now?

Still a little jet-lagged, I woke up early the next morning and crossed Second Avenue (upon orders from the walking man) to the coffee shop opposite. From the other side of the street the Chrysler Building was clearly visible several blocks in the distance, its soaring concrete and chrome piercing the cloud-filled sky like a needle. It wasn’t quite daylight, but inside the diner people were already tucking into breakfasts of eggs and bacon and pancakes. I took a seat at the counter and ordered coffee. Turning to face the window, I stared out and watched as the yellow cabs glided silently through the Saturday morning drizzle. Had I been foolish in clinging to a New York that is no more (or never was)? Maybe it doesn’t matter if NYC ’07 isn’t exactly the city I’d exalted all these years. What I love most about it hasn’t changed a bit, and what drew me to this place as a child can still be found everyday. Steam rises from manholes, fire escapes adorn every building, the stream of taxis never stops flowing and people really do read The New York Times on the subway. And while there’s space enough in people’s lives for the printed page, there’ll be a place in mine for New York City.

Raising the Bar

The life of a young writer is a hectic and stressful existence, often involving long hours of frantic typing as a deadline fast approaches, time which could be better spent sleeping or enjoying a proper dinner. However, occasionally we must abandon the iBook (or 1960 Lettera 32 Olivetti typewriter) and venture into the real world, all in the name of “research”. This usually means checking out a new bar or club, a task which has the added incentive of perhaps getting a free drink and/or meeting some girls.

Thanks to their brief mention in Elle Decor magazine, I had recently become aware of two designer hotels, The Continentale and the Gallery Hotel Art, each owned and styled by the Salvatore Ferragamo family. Elle boldly describes these establishments as “the jewels in Florence’s hotel crown” — both hotels sit opposite each other in a tiny piazza neatly tucked behind the Ponte Vecchio called Viccolo dell’Oro (literally “Little Street of Gold”).

I wander through the sliding door of the Continentale Contemporary Pleasing Hotel (to give it its full name) and enter into a chic Hepburn-inspired ’60s fantasy world, though it’s much too tasteful for the term “swinging bachelor pad”. Resembling 007’s secret love nest, the lobby is a series of wooden logs, kitsch lamps and plush pink chairs. A smart man and woman stand poised like mannequins halfway up the steps, who then immediately spring to life, inviting me to take a look around the building’s several floors and mezzanines. I glide up a short flight of stairs where I arrive in what appears to be a mini-movie theatre, where the final rain-sodden frames of Breakfast at Tiffany’s play out on a large plasma screen. For a moment I almost wish I didn’t already live in Florence, just so I could come and stay here. When I return to the reception, the blonde woman awaits with a brochure, which takes the format of a selection of large-scale postcards slipped inside a clear plastic envelope.

I take a few steps across the piazza and pull open the heavy wooden door of the Gallery Hotel Art. Inside, the staff is older but equally responsive to my polite inquiries, and once again I am encouraged to admire the lounge and restaurant. I am offered a drink at (The Fusion Bar) attached to the hotel, which from what I can gauge is a pretentious hangout for Florence’s superficial elite. The sign outside is enough to tell you that (The Fusion Bar) perhaps takes itself a little too seriously: the very name of the bar has to be contained within the safety of parentheses.

I perch on a chunky leather stool, order my usual Campari Soda, and begin to browse through the numerous design-related coffee-table volumes displayed by the bar. Several minutes later, the barman presents me with my drink. I don’t know what he did to it or why it took him so long, but it’s the best Campari Soda I’ve ever tasted. A long oblong dish of unidentifiable edibles arrives, at which I prod cautiously with an extra-long cocktail stick. As I mix my aperitivo and nibble on what I assume is sushi, I turn to admire the blown-up photograph of a woman in her underwear answering the telephone on her hands and knees, which covers the back wall.

continentale 2

While places of luxury are often over-priced, overwrought and over-rated, but they do know how to treat you well and the staff have a habit of making you feel like the most important person in the room. After I’ve finished my drink and am about to leave, the concierge asks me if I’ve yet had the opportunity to see the roof terrace of the Continentale. I respond with an enthusiastic no, and he leads me to a trio of elegant young women who stand chatting by the potted plants on the decked entrance to the bar. The dapper little man picks out one of the group. “Stefania,” he interrupts. “Can you please show James to the roof terrace?” I’m so instantly enamoured by Stefania I forget to ask how he knows my name. “Certamente,” Stefania says, and with a swish of her raven ponytail she escorts me back to the Continentale. “Follow me.”

We return past the candy-coloured seats and split-screen Audrey prints and enter a stark white cube. Lit from all six sides and possibly deriving from the set of 2001: A Space Odyssey, this futuristic box turns out to be the elevator. Stefania presses an invisible button and a few seconds later we step out at the top floor, where we walk onto the Contintentale’s roof garden, also known as the Sky Lounge. OK, so the name sounds like one of those tacky bars at Heathrow where holiday-makers drink Budweiser at eight in the morning, but I am willing to forgive that oversight. Not five minutes ago (The Fusion Bar) had seemed to be the epitome of cool, but this place is on another level, literally. I think it’s what they call “raising the bar”.

The square wooden terrace is lined with a crisp green hedge and a pale cushioned bench, upon which lounge a dozen or so people apparently well-accustomed to this lifestyle, as not even the presence of Stefania garners a reaction. A vast canopy keeps out the low sunlight, and the tables — which are made of steel framed boxes — each have a bulb gently glowing inside. The overall look is slightly Scandinavian, but something tells me none of it’s from IKEA. With a subtle wave of her slender hand, Stefania presents the stunning panorama, pointing out the Duomo and Palazzo Vecchio. “You can probably see my balcony from here,” I suggest, failing to impress her.

continentale sky lounge

This is such a magical setting, it comes as no surprise to learn that the Sky Lounge has witnessed over two dozen marriage proposals since its refurbishment in 2003. I am about to get down on one knee in front of Stefania when she turns and says, “I’ll leave you to enjoy yourself.” I thank her for the ride in the elevator and tell her I’ll be back on Thursday. It’s at this point I become aware of the sophisticated groove which seems to emanate from miniature speakers discreetly hidden within the foliage. I take in my surroundings and decide I’m not quite ready to leave just yet. Feeling slightly under-dressed but blending quite well in my faded t-shirt and retro adidas, I order another drink, which I sip in the company of skinny foreign models as the setting sun glistens on the Arno.

Twenty-four hours later I’m back at my usual bar for a routine aperitivo. My Campari has a slice of lemon instead of orange, floating between two rapidly melting lumps of ice which I poke at aimlessly with a straw. Needless to say this place does not enjoy the distinction of punctuation around its name. I’m sitting on metal garden furniture while munching on bits of mini pizza, the CD keeps skipping and there’s no sign of a roof terrace. My mind continues to drift back to the Continentale, where I can’t help but look forward to my next trip with Stefania in the white cube. But tonight I’m with friends and don’t feel at all out of place. Still somehow I’m not satisfied. Something’s missing. It’s too late — the bar has been raised.

Guernica

On April 26th, 1937, twenty-four Nazi German fighters bombed the small town of Guernica in the Basque region of Spain. It was one of the most brutal attacks of the Spanish civil war — the estimated number of victims range from 250 to 1,600, and hundreds more were injured. Appalled by this latest attack, Picasso was propelled into action. The artist had already received a commission from the Spanish Republican government to decorate the Spanish Pavilion at the Paris International Exposition. The shocking attack on Guernica now provided Picasso with a perfect subject matter, and on May 1st, just days after the bombing, his first sketches were made.

Picasso was a strong opponent to the struggles which gripped Spain, and as he worked on his mural commented: “The Spanish struggle is the fight of reaction against the people, against freedom. My whole life as an artist has been nothing more than a continuous struggle against reaction and the death of art. How could anybody think for a moment that I could be in agreement with reaction and death? In the panel on which I am working, which I shall call Guernica, and in all my recent works of art, I clearly express my abhorrence of the military caste which has sunk Spain in an ocean of pain and death.”

The panel in question measured 3.5 metres (11 ft) tall and 7.8 metres (23 ft) wide, dimensions which even exceeded those of Picasso’s studio: the canvas had to be positioned sloping backwards, and its highest points could only be reached by attaching a brush to a long stick while standing atop a ladder. His mistress at the time, Slav photographer Dora Maar, would form a photographic record of the entire creative process. In creating Guernica, Picasso chose to omit the cause of the massacre, representing only the death and carnage that remains. The scene is dominated by a horse and a bull — important symbols in Spanish culture — while human figures scream in pain and weep over the victims. The work has all the immediacy of a newspaper report, and in opting for monochromatic tones Picasso invokes the gritty realism of photojournalism.

Guernica was initially exhibited in July 1937 at the Spanish Pavilion of the Paris International Exposition, where it quickly gained the controversial attention Picasso had hoped to stir, especially when placed amongst other more staid works celebrating technological advancement. Although a personal response to a particular event, Guernica would soon be appreciated as an allegory of the horrors of war in general. The painting was the setting for peaceful anti-war vigils during the Vietnam war and is now often used as a symbol for the Basque nationalism movement.

Picasso refused to allow the work to return to Spain until the country became a republic, and Guernica spent most of the thirty years which followed the Paris exhibition touring Europe and the United States. The painting now resides at the Reina-Sofia Museum in Madrid, after returning to Europe in 1981, following the fall of Franco’s regime. (Picasso had insisted the painting shall not be return to Spain while the dictator was in power.) Guernica was reluctantly bequeathed back to Spain by The Museum of Modern Art, New York, where it had once formed the centrepiece of a Picasso retrospective which opened six weeks after the Nazi invasion of Poland. At this time, Picasso was continuing to work in exile in Paris, where German soldiers would occasionally be sent to search his studio. One day, an officer noticed a reproduction of Guernica lying on the table, and enquired to the artist casually, “Did you do this?” To which Picasso, not one to forget, quipped, “No, you did.”