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Showing posts with label UK. Show all posts
Showing posts with label UK. Show all posts

Friday, July 17, 2020

The Queen of the Skies Latest Victim of the #Pandemic as British Airways Axes Its Fleet of #747 #JumboJets for Good 

The End of An Era
British Airways Is Grounding Its Fleet of 31 remaining 747 Jumbo Jets, four years ahead of schedule. 

There are only just over 500 747 Jumbo Jets still being flown, with just a third for passenger service, the rest being Cargo. 

The global 747 fleet topped out at 986 flown in 1998. 

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Sunday, March 1, 2020

The Eternal Glamour of the #ArtDeco Beach House


A hundred years ago, architects all over the world upped anchor and sailed into an era of maritime fantasy. Seduced by the smooth lines, painted steel, portholes and ribbon windows of cruise ships, many built the finest houses of the 1920s and 1930s on beaches. 

They gazed out to sea as if longing for the nautical glamour of the transatlantic liner, just as shipping companies were vying to create the most lavish interiors, the sleekest profiles, the classiest balls and the fastest crossings. 

It was the era of seaside architecture, an evocation of sunshine and bracing fresh air — and it set the standard for coastal living. In the 2020s and around the world, there is a new appreciation of a style that still influences what is built on waterfronts. 

Art Deco by the Sea, a new exhibition at the Sainsbury Centre in Norwich, explores that brief flourishing in Britain. But the UK was just a corner. From Miami to Havana, Puerto Rico to Biarritz, Cape Town to Los Angeles, local versions of Art Deco sprang up in the most desirable seaside neighbourhoods.



Wednesday, September 14, 2011

UK worst place to live in Europe: Quality of Life Index - while France and Spain are the best

 UK worst place to live in Europe: Quality of Life Index - while France and Spain are the best

Ha!!


The UK and Ireland are the worst places to live in Europe, while France and Spain are the best, according to the latest uSwitch Quality of Life Index
The UK came 9th out of the 10 European countries in the Index, thanks to high living costs, below average government spending on health and education, short holidays and late retirement.  The Index shows that people in France enjoy the highest quality of life, closely followed by Spain.    
People in the UK pay the highest prices for food and diesel, yet the government spends below the European average (as a percentage of GDP) on health and education. We also work longer hours, retire later, receive less annual leave than most of our European counterparts and get less sunshine along the way - not to mention the fact that we can expect to die two years younger than our French counterparts.
The UK no longer has the highest net household income in Europe, after falling behind Ireland, the Netherlands and Denmark. In the past, the relatively high net income in the UK has offset the poor quality of life, but this year net household income it is only around £5000 above the European average, compared to £10,000 above last year.
France enjoys the earliest retirement age (joint with Poland), spends the most on healthcare (11% of GDP) and has the longest life expectancy in Europe. Its workers also benefit from 36 days holiday a year, compared with just 28 in the UK, and it comes only behind Spain and Italy for hours of sunshine.
Spain has the most sunshine, the lowest prices for alcohol and the highest number of days holiday in Europe at 43 days a year. However, the Spanish government spends the least on education.


Saturday, March 12, 2011

Tchenguizes arrested in Kaupthing probe

Tchenguizes arrested in Kaupthing probe
By Brooke Masters in London and Daniel Thomas in Cannes
Published: March 9 2011 10:09 | Last updated: March 9 2011 21:22
Robert and Vincent Tchenguiz
Vincent (left) and Robert Tchenguiz 
Robert and Vincent Tchenguiz, the high-flying UK property entrepreneurs, and seven other people were arrested as the Serious Fraud Office extended its probe into the 2008 collapse of Kaupthing, the Icelandic bank.
More than 130 investigators and City of London police officers on Wednesday staged dawn raids on eight homes and two London businesses, including the Mayfair offices of Rotch Property, the investment vehicle that controls the brothers’ property portfolio. In a co-ordinated action, Icelandic police also arrested two men and searched two properties. No charges have been filed.


FT.com / Companies / Property - Tchenguizes arrested in Kaupthing probe

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Saturday, December 11, 2010

Venezuela in London: Mi cocina es tuya


Venezuela in London: Mi cocina es tuya – Café Latino, Crystal Palace


Between the pubs and print shops of Westow Street in Crystal Palace is a fantastic little restaurant serving authentic Venezuelan cuisine. Mi cocina es tuya (My kitchen is yours) bills itself as London’s only Venezuelan restaurant – perfect for our World in London series.. If you know better, let us know in the comments below!
I went to meet husband-and-wife team Alexis and Mary yesterday to sample their coffee, and find out about their unique eatery. What started as an events catering business with a stall in Camden Market now has a more stable base in this Crystal Palace restaurant. During the past three years, Alexis and Mary have served their traditional Venezuelan cuisine all over London, from the Carnaval del Pueblo to the Venezuelan Embassy. For the last seven months, they’ve been concentrating on developing Mi cocina es tuya.
The menu offers delicious-sounding empanadas (patties), asado criollo (grilled beef and rice) and arepas (corn bread with beef, chicken or cheese). The most popular dish, Alexis tells me, is the Pabellón de carne: beef, black beans, rice and fried plantains.
“At first, finding the right ingredients was difficult. For example, this hallaca is a traditional Christmas dish, but it’s wrapped in banana leaves.” He shows me an intricately bound parcel of dark green leaves. “But, you can’t just buy banana leaves in Asda! Now, we’ve found out about the right vendors in Brixton, at the market, and we can make hallaca. Similarly, you can’t get the chilli beef for Pabellon de carne in a normal supermarket. Now, we go to a Columbian butcher in Brixton. It tastes just as good as the meat in Venezuela.”
As well as the traditional food, Mary and Alexis are proud to show me their Venezuelan drinks. Mi cocina es tuya is one of the few places in London you can enjoy typical Latin drinks like Malta, Sugarcane with lemon, and Cocada, which, I’m told, is like coconut milkshake, but much nicer.
“People are often surprised that our food is like food from Trinidad and Tobago, or Caribbean food. But really, we’re from the same part of the world. Chilean, Peruvian, Columbian, all Latin American people that come here will see and recognise the products we sell.”


Indeed, as well as being a lovely place for a traditional Venezuelan breakfast of Perico (scrambled eggs with chopped tomatoes, onions and coriander, black beans, cheese and arepa, or corn bread – much healthier, I’m assured than the Traditional English they also serve), Mi cocina es tuya is also something of a Latin American deli. You can by the white or yellow “PAN” cornflour, as well as Malta drinks and other typical delicacies.
With guitars and maracas hanging from the walls, as well as plenty of gorgeous pictures of Venezuela itself, I think Mi cocina es tuya is a fantastic representation of Venezuelan London. And the wonderful hospitality of Alexis and Mary means I’ll be back for more. That, and the promise of trying some Dulce de tres leche next time!
Visit Mi cocina es tuya – Café Latino at 61 Westow Street Crystal Palace, London, SE19 3RW. If you know any other examples of Venezuelan culture in London, let us know in the comments below.
Venezuela in London: Mi cocina es tuya – Café Latino, Crystal Palace – Visit London Blog

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Tuesday, November 16, 2010

FT.com / Special Reports - Still a player: guitar legend Jeff Beck

Still a player: guitar legend Jeff Beck

Jeff Beck

Guitar legend: Jeff Beck

By Stephen Wilmot

Published: September 30 2010 18:01 | Last updated: September 30 2010 18:01



Most musicians are known for a particular sound, style or song. But not rock guitar legend Jeff Beck, who says the secret of his staying power has been the ability to “move on to something else”. It’s a journey that has taken him – via rock, heavy metal, jazz and soul – to his current world tour, backed by a full string orchestra.
“I’m at home with anything that’s got a groove to it,” says the ex-Yardbirds guitarist, pointing to a DVD he is making in tribute to legendary guitarist Les Paul and 1950s jazz. “I get just as much of a kick from that as I do coming up with something from tomorrow-land.”
But Beck’s taste for experimentation does not stretch to his finances – something in which he claims to have no interest but just a little “intuition”. He was almost persuaded to buy a portfolio of shares just before the financial crisis; luckily, he decided at the last minute not to sign. “It was a near-miss for me. But I said no, because I wasn’t satisfied with – or didn’t understand – what was being proposed. When people talk bank-talk, I glaze over after five minutes,” he admits.
Beck now uses the London-based private bank Duncan Lawrie, mainly because it offers a reassuringly old-fashioned experience. Lamenting the passing of the days when “you could almost have a pint with your local bank manager”, he remembers how he and his former concert manager grew frustrated with the impersonal service and “incompetence” of their high street bank. After doing research, manager settled on Duncan Lawrie and suggested Beck switch too.
“I felt nervous at first, because I didn’t really know whether I was making the right decision. But I’ve no complaints. It’s so important to have a one-to-one talk with someone at your bank. They’re handling your money, after all. You go around the world and make your money, and you want to be sure it’s being looked after.”
Beck is currently on the second leg of his world tour. He is still basking in the success of his latest album, Emotion & Commotion, which was released in April and is now up for eight Grammys. He says it is the best response that he has received since 1975, when he teamed up with Beatles producer George Martin to make the album Blow by Blow.
Fans have been particularly struck by Beck’s lush use of strings as backing for his electric guitar. “There’s no substitute for a full string orchestra,” he explains. “I was fulfilling a dream – I wanted to do it back in 1966, but couldn’t afford it. I was always impressed by people like Tina Turner and the way that kind of record was produced. It’s a beautiful sound that can only be achieved with acoustic instruments.”
Beck is also pleased with the popularity of Emotion & Commotion because singers, not instrumentalists, tend to dominate the charts. The guitarist has been wary of working too closely with singers ever since he parted ways with Rod Stewart – then the unknown lead singer of his up-and-coming band the Jeff Beck Group – back in 1969.
“Rod was a bit of a problem because his name wasn’t on the ticket, and the whole ego thing kicked off. I said if you put your name on the ticket you won’t sell any seats, but he wasn’t happy being treated as a sideman,” Beck laughs.
Stewart left to join the group the Faces, which seemed a career upset for Beck, but turned out to be liberating. “The singer problem was gone when Rod left. Rather than see that as negative, I thought: the doors are open.” He says it was working with the New York jazz-rock group Mahavishnu Orchestra in the mid-1970s that made him realise there was “life after singers”.
Beck considers the US his second home. He cites American rock and roll, blues and jazz as his original creative sources, and the US still gives him the warmest reception. It was there he spent a year in tax exile in 1977, which ironically was to pay for his English home – an Elizabethan manor house in the Sussex Weald that he fell in love with on first viewing.
“It was complete lunacy, as I didn’t know if I had the money. But when the estate agents opened the door I just wanted them gone,” he reminisces, grateful that his home turned out to be a good investment too.
Beck struggles to single out one highlight of his career, which has spanned four and a half decades and at least 10 different groups. “The big highlight is that I’m still in the business,” he says with another raucous laugh.

FT.com / Special Reports - Still a player: guitar legend Jeff Beck

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Saturday, November 13, 2010

Cohabitation et tolérance : La singularité et l'exception marocaines exaltées à Londres

Cohabitation et tolérance
La singularité et l'exception marocaines exaltées à Londres
flecheRouge Publié le : 11.11.2010 | 17h26

Le modèle marocain singulier s'impose dans un monde en proie aux turbulences et aux divisions, dixit le président du Musée juif de Londres.

La vocation du Maroc en tant que havre de paix et terre de rencontres a été saluée à Londres à l'occasion de l'exposition «Morocco», organisée dans la capitale britannique par le musée juif de Londres en partenariat avec la Moroccan-British Society (MBS), que préside l'ambassadeur du Maroc en Grande-Bretagne, Chrifa Lalla Joumala Alaoui.
La cérémonie d'inauguration de cette grandiose manifestation a été l'occasion pour de nombreuses personnalités d'exprimer leur reconnaissance au Royaume, pays qui a su depuis plusieurs siècles donner l'exemple en matière de pluralisme et de cohabitation entre les différentes cultures et religions. «Le Maroc a été, depuis des centaines d'années, un modèle de coexistence entre les adeptes des différentes religions dans un cadre marqué par le respect des valeurs de chaque communauté», a déclaré à la MAP, Lord Young, président du musée juif de Londres et Conseiller du Premier ministre britannique, David Cameron. «Ce modèle marocain singulier s'impose dans un monde en proie aux turbulences et aux divisions», a dit Lord Young, émettant le souhait de voir les autres pays suivre l'exemple de l'exception marocaine.

Lord Young a tenu à souligner le rôle important que le Maroc a depuis toujours joué pour la promotion des valeurs de tolérance et pour trouver un règlement juste et durable au conflit du Moyen-Orient.
Par ailleurs, Lord Young a exprimé sa gratitude à la MBS pour son partenariat et son soutien pour l'organisation de l'exposition. Rappelant que la MBS œuvre pour le renforcement des relations d'amitié et de coopération privilégiées entre le Maroc et la Grande-Bretagne, il s'est dit convaincu que la grande contribution apportée par la MBS pour la tenue de l'exposition ne manquera pas de renforcer davantage ces relations.

La présence des juifs au Maroc date depuis plus de 2.000 ans, a-t-il dit, soulignant que l'exposition «Morocco» offre l'occasion propice pour rendre un hommage appuyé au Maroc, un pays où la cohabitation entre musul

Lord Young a également tenu à rendre un vibrant hommage à feu S.M. Mohammed V pour la sollicitude que le défunt Souverain accordait à ses sujets de confession juive.
L'exposition de Londres vise à la fois à promouvoir la diversité de la communauté juive et renforcer les relations de dialogue et de coexistence entre les différentes cultures et religions, a-t-il encore dit.

Même son de cloche chez Claire Spencer, qui dirige le département Moyen-Orient/Afrique du Nord à l'Institut Royal des Affaires Internationales (Chatham House, basé à Londres), qui a relevé que l'exposition offre l'occasion de mettre en relief la place du Maroc en tant que «référence clef» en matière de relations entre différentes communautés. «Nous sommes ici pour célébrer les aspects et les dimensions culturels du Maroc au Royaume-Uni, loin de toute considération d'ordre idéologique», a-t-elle dit. De son côté, Sydney Assor, membre éminent de la communauté juive marocaine en Grande-Bretagne, a rendu hommage à l'ambassadeur du Maroc en Grande-Bretagne pour les efforts inlassables qu'elle ne cesse de déployer pour la promotion de l'image authentique du Maroc en tant que terre de paix et de rencontres.

«C'est grâce à vos efforts que le public britannique aura l'occasion de découvrir la culture juive du Maroc, vieille de plusieurs siècles», a-t-il dit, réitérant l'attachement indéfectible de la communauté juive marocaine à la mère patrie et au glorieux Trône alaouite. L'exposition «Morocco», qui durera jusqu'au 6 mars 2011, représente un véritable voyage dans le temps, mettant en relief la richesse de la civilisation du Maroc et la splendeur de ses valeurs intrinsèques de tolérance et de respect de l'autre. A travers une collection de 74 photographies inédites, prises durant les années 40 et 50 par Elias Harrus, Marocain de confession juive, le visiteur découvre la vie quotidienne des juifs de l'Atlas et du sud du Maroc et leur interaction avec leurs concitoyens musulmans dans un environnement empreint de quiétude et d'enrichissement mutuel.

Ces photos sont d'une importance particulière du fait que cette communauté juive a, depuis, virtuellement disparu des montagnes de l'Atlas et du sud du Maroc pour s'installer dans les grandes villes du Royaume ou immigrer à l'étranger, estime la directrice du musée juif, Rickie Burman. L'exposition comprend également des photos captées par Pauline Prior qui a revisité, à la demande du musée juif d'Amsterdam, les mêmes lieux que Harus pour transposer ce qui reste du patrimoine juif au Maroc. Le musée juif expose également des costumes traditionnels portés ou confectionnés par des juifs marocains ainsi qu'une collection de bijoux.

A signaler que cet événement phare vient rappeler l'exposition exceptionnelle des textes et des livres saints des trois religions monothéistes, qui s'est tenue du 27 avril au 23 septembre 2007 au siège de la prestigieuse British Library (BL) à Londres. Tenue sous le Haut Patronage de S.M. le Roi Mohammed VI et de S.A.R. le Prince Philip, Duc d'Edimbourg, l'exposition avait réalisé un succès éclatant témoignant ainsi du rôle de premier plan que le Maroc joue dans le rapprochement entre les religions, les civilisations et les cultures.

Un tel constat de succès a été souligné dans un rapport élaboré par la BL, qui a noté que l'exposition, a été l'événement le plus réussi jamais organisé par l'institution, attirant plus de 200.000 visiteurs durant cinq mois. Un sondage réalisé par l'Institut Mori a montré qu'une grande majorité des visiteurs de tout âge ont indiqué que cette exposition de portée universelle leur a permis de découvrir les multitudes de valeurs partagées par les trois religions monothéistes: l'Islam, le Christianisme et le Judaïsme.

Convergence des civilisations

«C'est un Maroc fort de sa diversité culturelle et riche de toutes ses histoires additionnées que l'Angleterre
est invitée à découvrir», a déclaré à la MAP André Azoulay, conseiller de S.M. le Roi.
«Espace privilégié de convergence des civilisations berbère, arabo-musulmane et juive, le Maroc a su résister aux mirages d'une histoire réécrite en fonction des aléas de l'instant», a dit M. Azoulay après avoir donné lecture du message adressé par S.M. le Roi Mohammed VI, que Dieu l'assiste, aux organisateurs de l'exposition sur le judaïsme marocain, inaugurée mercredi soir au siège du Musée juif de Londres.
«Le message de S.M. le Roi donne sa juste mesure à la singularité, à la modernité et à la profondeur des choix faits par le Maroc pour résister aux tentations du repli», a ajouté le conseiller de S.M. le Roi, en mettant en relief la détermination des communautés juives marocaines, où qu'elles se trouvent, pour «afficher, promouvoir et protéger leurs racines marocaines et leur mobilisation effective aux côtés du Maroc».

Par MAP

Cohabitation et tolérance : La singularité et l'exception marocaines exaltées à Londres

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Thursday, September 16, 2010

The 727 that Vanished | History of Flight | Air & Space Magazine

Air & Space Magazine

The 727 that Vanished

A case pursued by the FBI, the CIA, the U.S. Departments of State and Homeland Security, CENTCOM, and the sister of Ben Padilla.

  • By Tim Wright
  • Air & Space Magazine, September 01, 2010
Seven years after her brother disappeared from Quatro de Fevereiro International Airport in Angola, Benita Padilla-Kirkland is trying to persuade the FBI to re-open his case. She believes she has the “new information” agents told her they require. But she suspects that the agency already has more information than agents will admit to.
Kirkland’s brother, Ben Charles Padilla, a certified flight engineer, aircraft mechanic, and private pilot, disappeared while working in the Angolan capital, Luanda, for Florida-based Aerospace Sales and Leasing. On May 25, 2003, shortly before sunset, Padilla boarded the company’s Boeing 727-223, tail number N844AA. With him was a helper he had recently hired, John Mikel Mutantu, from the Republic of the Congo. The two had been working with Angolan mechanics to return the 727 to flight-ready status so they could reclaim it from a business deal gone bad, but neither could fly it. Mutantu was not a pilot, and Padilla had only a private pilot’s license. A 727 ordinarily requires three trained aircrew.
According to press reports, the aircraft began taxiing with no communication between the crew and the tower; maneuvering erratically, it entered a runway without clearance. With its lights off and its transponder not transmitting, 844AA took off to the southwest, and headed out over the Atlantic Ocean. The 727 and the two men have not been seen since.
Who was flying 844AA? Had something happened to make Padilla take that desperate chance? Or was someone waiting inside the airplane? Leased to deliver diesel fuel to diamond mines, the 727 carried 10 500-gallon fuel tanks and a few passenger seats in its cabin. Less than two years after the 9/11 terrorist attacks, the 727’s freakish departure triggered a frantic search by U.S. security organizations for what intelligence sources said could have been a flying bomb.
Retired U.S. Marine General Mastin Robeson, commander of U.S. forces in the Horn of Africa when 844AA went missing, says word of the 727 “came up through the intelligence network.” According to Robeson, U.S. Central Command (CENTCOM) considered moving U.S. fighter aircraft to Djibouti on the Red Sea coast, where the Combined Joint Task Force shares a base with the French military. Robeson continues: “It was never [clear] whether it was stolen for insurance purposes&hellipby the owners, or whether it was stolen with the intent to make it available to unsavory characters, or whether it was a deliberate concerted terrorist attempt. There was speculation of all three.”
Speculation that the theft of 844AA posed a terrorist threat ended, though it’s unclear why. Perhaps National Geospatial-Intelligence Agency technicians saw signs of a crash in satellite imagery—debris or an oil slick in the Atlantic, for example—or evidence that a large aircraft had landed on one of a half-dozen unpaved, 8,000-foot runways in the Congo, north of Angola. Agency spokesperson Susan Meisner would not comment, saying that the NGIA was not the lead agency in the case. (A CIA spokesperson also declined comment, as did a spokesperson from the Department of Homeland Security. FBI agents also refused comment, citing national security concerns.) Perhaps the speculation ended more gradually, after weeks without clues or sightings stretched into months. The disturbed hornet’s nest of a global security alert—the searches, bulletins, and interrogations—quieted, and in 2005, the FBI closed its case. I have filed Freedom of Information Act requests with the CIA and FBI and have followed in at least some of the FBI’s footsteps, interviewing the people who flew 844AA to Angola and worked with it there, hoping to understand how a 727 could just disappear.
“IT REALLY WAS in beautiful condition,” Keith Irwin says of the airliner he acquired in Miami in February 2002. Irwin, 57, a South African entrepreneur who ran a series of information technology companies and, until 2000, a small tourist airline with flights from South Africa to Mozambique, had come to Miami to pick up a different aircraft altogether. Representing a joint venture with a South African company called Cargo Air Transport Systems, Irwin had arranged to lease a 727 and two flight crews—pilot, first officer, and flight engineer—for a year. The air transport company had signed a contract to supply fuel to diamond mines in Angola, where a long civil war had made transporting goods by road almost impossible. The 727, therefore, was to have been delivered with fuel tanks installed in the cabin. The joint venture was backed by a single investor, who had deposited $450,000 in a U.S. bank. Irwin’s job was to manage the flight operations, but the deal for the airplane fell through. Irwin ended up with fuel tanks and no airplane.
That failure stranded six crewmen who had assembled in Miami. “The guys then were desperate for work,” says Irwin. “Most of those guys had not flown in a long time because of the 9/11 story. I said, ‘Look, I can take you on if we can find another aircraft.’ ” And Irwin met Maury Joseph, president of Aerospace Sales and Leasing, Inc. Joseph owned three 727s that had recently been retired by American Airlines. “All three aircraft were almost in mint condition,” says Irwin. “American Airlines had a very good maintenance program.”
New deal: Joseph sold 844AA to Irwin for $1 million and change. According to his records, he received a down payment of $125,000, and says he stipulated that the balance be paid within 30 days. He agreed to remove the passenger seats from the cabin and to allow Irwin to take the airliner to Africa. Irwin says he cannot remember the details of the agreement, but recalled it to be a lease arrangement. In any case, the joint venture made only two payments and defaulted.
Though the two men now differ over the terms of the contract, they agree on one detail: As a condition of the agreement, Irwin was required to take along one of Joseph’s employees, Mike Gabriel, whose job was to make sure that the deal was concluded. “I gave Mike $10,000 and told him to fly with them,” says Joseph. “Stay with the plane till you get the money, and then come on home, and if not, bring the plane home.”
On February 28, 2002, with most of the passenger seats removed and the 10 fuel tanks loaded, 844AA, still in the livery of American Airlines, with a blue stripe down the side and an AA logo fading on its tail, took off for Africa.
Because Irwin’s partners had not arranged a landing permit, it took two weeks for the crew to make their way to Quatro de Fevereiro International Airport, where they arrived on March 14. Irwin, who had not worked in Angola before, realized immediately that the deal was in trouble. The company hiring his partners for deliveries, Kuwachi Dundo, was supposed to pay $220,000 when the airplane and crew landed, but instead the company’s representative made excuses. (Irwin lost almost $140,000 in the first deal and had burned through the rest of the $450,000 by March.)
The crew endured accommodations in a dismal apartment without electricity or drinkable water, near an open sewer. (Gabriel and Irwin didn’t stay with the crew; they had rented an apartment in the back of a house owned by an Angolan air force general.) The only one of the men not troubled by the circumstances they found in Angola was Mike Gabriel. Gabriel, a dealer in aircraft parts and engines, had spent a considerable amount of time in West Africa, and was accustomed to the AK-47s the men saw everywhere, including stacked up behind the bar of a club they frequented. Most worrisome to the crew was that they were required to surrender their passports on arrival. Irwin explains that Kuwachi needed the passports to obtain Angolan licenses for the pilots and flight engineers.
“I was scared to death. I really thought I was going to die,” says Art Powell, one of the flight engineers with the project. Powell had been to Angola before and had spent a year working in Nairobi, Kenya, but this experience was different. He felt intimidated by the people who had hired the crew for the fuel-delivery job. His anxiety was intensified by the presence of a local “helper” who toted an AK-47. The helper was a guard whom Mike Gabriel says he hired because the crew repeatedly voiced concerns about safety.
When Kuwachi got wind of the crews’ unrest (several crew members have admitted that they were planning to steal the aircraft to escape to South Africa or return to the States), the company refused to return the passports. Irwin and members of the crew went to the U.S. Embassy; only then were the passports returned.
By Angolan regulations, Irwin says, 844AA was controlled by the clients who hired it. Prohibited from flying the aircraft out of the country, Irwin booked airline seats and flew the crew members to South Africa. From there, two of the men immediately flew home to the United States. One says he is still owed $17,000. The other four crewmen, still hoping for the money they’d been promised, stayed on.
By April, Irwin was extricating himself from the deal made by Cargo Air Transport Systems and had found a new backer, an Angolan who arranged deliveries for a different client. Irwin and the remaining crew returned to Luanda and began flying the shipments for the new company. Mike Gabriel placed the total number of flights made at 17.
“It’s the most dangerous flying in the world,” says a crewman who asked that his name be withheld because he fears for his career. A U.S. Air Force veteran, he likened the deliveries to flying into a combat zone. When they approached the airfields, the crew tried to stay at an altitude above small-arms fire for as long as possible, then spiraled down to land.
“I’ve been a [flight deck crew member] for 30 years,” he says. “For me, it was an opportunity to make a couple of bucks... and when everything started falling apart, I probably hung on twice as long as common sense dictated. But I had too much invested at that point to bail out.”
Many of the runways, says Mike Gabriel, aren’t paved and aren’t like the ones U.S. crews are accustomed to. “On some, you land uphill, then go downhill, then uphill again,” he says.
At one airstrip, the anonymous crewman says, just before 844AA arrived, a 727 flying for a competing company crashed on landing and skidded off the runway. Although the crew survived, he says, some local residents were killed. “We gave [the other flight crew] a lift out of there but not before going over to their airplane and stealing some parts that we needed. That’s when I decided it was time to go home.”
Before he left, he says, a “big African showed up with a briefcase full of hundred-dollar bills. It was payday.” Besides paying the crew, the money was supposed to pay off accumulated airport fees and fuel costs.
“After that,” the crewman says, “I created a family emergency&hellip. I said, ‘My mother is sick.’ ” He promised he’d return in two weeks and left. “I had no intentions of going back, of course. I didn’t get anywhere near full pay, but I got enough that I could pay my bills and make it not completely worthless.”
By the end of April, all of the Americans except Mike Gabriel had left.
Irwin hired a local crew and continued to deliver fuel to the mines, but he was ready to leave too. The civil war in Angola had ended. Competition among fuel haulers, Irwin says, had intensified, and he was growing more uncomfortable with the delivery deals. His partners were claiming part ownership of the aircraft, but Maury Joseph had not been paid. Joseph, meanwhile, sent a crew to swap an engine from the 727. Finally, Irwin says, he was being followed—by a local man named Antonio, who, Irwin believes, was working for one of his partners. “I would turn around,” Irwin says, “and spot Antonio watching me from a car.”
Irwin began wedging a chair under the door handle of his hotel room “just like you see in the movies.” One night, he heard a key card slide into the slot on the door. The lock released. “I started yelling and whoever it was ran,” he says. The hotel security guards questioned the night clerk and learned that he had accepted a bribe to provide the key card. Irwin left the country the next day and didn’t go back.
Maury Joseph fired Mike Gabriel some time that spring. “He kept convincing me that next week, next month…,” Joseph says, referring to the outstanding balance owed on the airplane.
In May 2002, the only part of the original 844AA project left at the Luanda airport was 844AA.
THE SON OF A FLORIDA MILLWRIGHT, Ben Charles Padilla Jr. was always mechanically gifted, says sister Benita Padilla-Kirkland, and from the time he was a boy, he loved airplanes. In his mid-20s he learned to fly and became certified as an airframe-and-powerplant mechanic. He lived in south Florida with two children, one his own, and a fiancée of 15 years. (Efforts to contact her were unsuccessful.) Though the two weren’t married, Padilla gave her power of attorney in his absence and made her the executor of his estate, according to Padilla-Kirkland, and left her almost everything in his will.
“He certainly knew the airplane,” says Maury Joseph. Padilla was a freelancer, who had worked for Joseph on two jobs before traveling to Angola to repossess 844AA. Padilla had worked extensively in Africa. He helped Joseph ferry a 727 to Nigeria for a sale and during the negotiations stayed to explain the aircraft systems. “If you said, ‘Go to Cambodia and do this’ or ‘Go to Indonesia and do this’ or ‘Go to South America and do this’ he would do it. [When in Nigeria] I was with Ben daily for a month or more,” says Joseph. “You become fairly close to somebody when you’re with them day and night.” Joseph trusted him.
But another employer formed a different opinion. Jeff Swain, who works near Miami in international aircraft sales and leasing, had hired Padilla in the late 1990s for an airline he was operating in Indonesia—and fired him. “We had certain standards of conduct we expected from flight engineers,” Swain says, adding, when pressed, “He was too involved in chasing the local girls. It was an unstructured environment, and he just went bad.” Swain says that after Padilla was fired, he stayed on in Indonesia for two months and racked up a $10,000 bill that he told the hotel the airline would pay. “We finally had him deported,” says Swain.
Padilla once showed Swain a photograph of a woman with small children and told him it was his wife in Mozambique, but Swain says, “I never believed it was real. Ben was always marveling everyone with his bullshit stories.” One of Padilla’s friends also saw a photograph of a wife, but insists that she lived in Tanzania. Another acquaintance was told that Padilla had a wife in Indonesia.
Benita Padilla-Kirkland says she’s heard the stories, but believes her brother would have told her if he’d had another family. She doesn’t doubt the relationships, but is convinced that Padilla was helping to support people he’d befriended. “There might have been more than one of those situations,” she says.
WHAT IN FEBRUARY 2002 had been a retired airliner in excellent condition had by fall become a junker worth only the price of its engines. And Maury Joseph found a buyer for them: Jeff Swain. Swain says that Irwin and the crews had ruined the airplane. “It would never be of any value again,” he says. “You can’t put water tanks full of fuel in an airplane and expect it to be good. Totally stupid. But it had really good engines on it—maybe 1,000 cycles since new.”
In November 2002, Joseph and Ben Padilla flew to Nigeria to deliver a 727, and Joseph hired Padilla to fly to Angola the following April to pay the outstanding fines and hire mechanics to return the 727 to service. “If [the company that contracted for fuel deliveries] wasn’t paying Mr. Irwin, you can assume he wasn’t paying anybody,” says Joseph. “He probably hadn’t paid the fuel bill. He didn’t pay the navigation fees, the landing fees, and certainly wasn’t paying the parking fees at the airport. So all of those became things that we had to resolve and I had to pay all those.”
Padilla worked with Air Gemini, a Luanda-based airline that operated a repair station. The return-to-service process was progressing steadily, according to Joseph, and in May 2003, acting as Joseph’s agent, Padilla hired a pilot and copilot from Air Gemini to help him deliver the aircraft to Johannesburg, South Africa, where Joseph was waiting with his new customer. A day or two before the aircraft was to leave Luanda, Padilla made plans with Air Gemini to take the aircraft from the company hangar out to the main runway, where he intended to run the three engines up to full power for a systems check.
Late in the morning on May 26, when Joseph and Swain were expecting 844AA to land, Joseph took a call from an Air Gemini employee, who demanded to know why another crew had flown the airplane out of Luanda. “He was kind of hard on me,” Joseph says. After the shock wore off, he telephoned the U.S. Embassy in South Africa to report the disappearance, then called his wife back in Florida to tell her to call the FBI. From Washington, D.C., the Department of State, notified by the U.S. Embassy in Angola, sent a message to every American embassy in Africa: Alert aviation officials that an airliner has been stolen, and call every airport with a runway long enough to handle a 727.
For the U.S. government, fraud was one theory that could explain the aircraft’s disappearance. “Part of the intelligence was that the airplane was in a bad state of repair,” says General Robeson. “That was one of the speculations, that it was an insurance fraud situation. You know, ‘Oops, my plane was hijacked/stolen by terrorists and now I can do an insurance claim on it.’ So, that was probably as valid of an explanation when all was said and done as anything. But we just left it as an unknown.”
Among intelligence officials, the suspicions of fraud may have been aroused by knowledge of an incident in Maury Joseph’s past. During the 1990s, Joseph was CEO of a cargo airline named Florida West (which later went bankrupt). The Securities and Exchange Commission charged him in a civil case with falsifying financial statements and defrauding investors. The court imposed a fine and barred Joseph from acting as an officer in a publicly held company.
But Joseph, when contacted by the FBI, volunteered to take a lie-detector test, and Swain, who was there when Joseph took the call from Air Gemini, is certain that Joseph had nothing to do with the airplane’s disappearance. “Look, nobody was more amazed by this situation than Maury,” Swain says. He describes Joseph as utterly confused by the information that the airplane was gone.
The suspicion that Ben Padilla could have played any part in an insurance fraud angers his younger brother. “If anybody would say to me that my brother was involved with this,” says Joe Padilla, his voice tightening, “they’re full of it. ’Cuz I know my brother. He’s not gonna do nothing crooked. I know that for a fact.” He is convinced that more than one person was already on board, waiting, and that they forcibly took the aircraft, and killed Ben and John Mutantu.
“I keep hoping against hope that maybe he’s tucked away somewhere,” says Benita Padilla-Kirkland. The new information she passed along to the FBI was a possible sighting of the aircraft, one of many reported over the years.
Mike Gabriel believes the airplane crashed in the Atlantic Ocean soon after takeoff. One crew member from the fuel delivery operation thinks the Angolan air force shot it down with a missile. A Luandan pilot says the word there is that the aircraft went north and vanished near Kinshasa, Congo. One of Ben Padilla’s friends says the airplane was disassembled for parts in Bujumbura, Burundi, on Tanzania’s western border.
Picking through the fragments of 844AA’s history, I found a story of broken deals, disappointments, and betrayals, but no real clues to the aircraft’s destination that day in 2003. We may never know for sure where it went. It is the largest aircraft ever to have disappeared without a trace.
Tim Wright is a writer living in Richmond, Virginia.

© Smithsonian Institution

The 727 that Vanished | History of Flight | Air & Space Magazine

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Saturday, September 11, 2010

The art market: Hands up for Hirst | The Economist

Damien Hirst's coup

The art market - Hands up for Hirst

How the bad boy of Brit-Art grew rich at the expense of his investors

IN 2008 just over $270m-worth of art by Damien Hirst was sold at auction, a world record for a living artist. By 2009 Mr Hirst’s annual auction sales had shrunk by 93%—to $19m—and the 2010 total is likely to be even lower. The collapse in the Hirst market can partly be ascribed to the recession. But more important are the lingering effects of a two-day auction of new work by Mr Hirst that Sotheby’s launched in London on September 15th 2008.
The sale was memorable for many reasons, not least its name, “Beautiful Inside My Head Forever”. The first session took place the very evening that Lehman Brothers went bankrupt. No one on Wall Street or in the City of London knew who might be next. Yet within the New Bond Street saleroom, collectors went on bidding, oblivious to the bloodletting without.
The sale was an innovative, daredevil affair. The art market is divided into “primary”, new work sold through galleries, and “secondary”, literally second-hand art, which is often put up for auction. This sale was full of primary material straight out of Mr Hirst’s studio, some of it not yet dry. (Usually the only new art sold at auction is donated by artists to raise money for charity.) According to Frank Dunphy, Mr Hirst’s business manager at the time, the galleries that represent him were very unhappy. Soon after breaking the news to Larry Gagosian, the world’s leading dealer, Mr Dunphy recalled their conversation: “Larry said, ‘It sounds like bad business to me. It’ll be confusing to collectors. Why do you need to do this? We could continue in the old way’.” Mr Dunphy went on: “We’ve had our shouting matches over the years. But there was no shouting that day.”
Sotheby’s was keen to build its own brand around a celebrity artist rather than the usual assortment of inanimate objects. The sale was marketed on YouTube and through the media around the world, part of a conscious effort to broaden international demand for the work. Sotheby’s filled its exhibition rooms with Hirsts. Never had so much of his art been seen in one place. Many art-world insiders saw the sale as an artistic event. Cheyenne Westphal (pictured above, right), European chairman of Sotheby’s contemporary art, says: “Damien’s auctions will become part of his oeuvre. He has done three sales: ‘Pharmacy’ (2004), the ‘RED’ charity auction (2008), and ‘Beautiful’. Fast forwarding, they will be very good provenance.”
Few people were convinced, though, that the market could absorb 223 lots from one artist in 24 hours. Yet an astonishing 97% of the works sold. “Beautiful” brought in £111m ($198m) and expanded the art market: 39% of the buyers had never bought contemporary art before and 24% of them were new to Sotheby’s. Europeans (including Russians) bought 74% of the lots, while 17.7% went to the Americas and 8.3% flew to Asia and the Middle East.
But who exactly bought what? Even Mr Hirst admits, “I’m still finding out.” Dealers acquired some works, but 81% of the buyers were private collectors purchasing directly. Miuccia Prada, an Italian designer and longstanding Hirst collector, for example, spent £6.3m acquiring a trio of Mr Hirst’s trademark animals in formaldehyde: “The Black Sheep with the Golden Horn”, “False Idol” (a calf), and “The Dream” (a foal made to look like a unicorn). “I think it was an incredible conceptual gesture, not a sale,” she says.
Several billionaires from the former Soviet Union also took part. Alexander Machkevitch, a Kazakh mining magnate with a taste for metallurgical themes, bought six lots in the evening sale: a large stainless steel cabinet filled with manufactured diamonds, a pair of gold-plated cabinets containing more lab gems, three butterfly canvasses and a spot painting with a gleaming gold background for a total of £11.7m. Other buyers from the region included Maria Baibakova, Vladislav Doronin, Victor Pinchuk and Gary Tatintsian.
Speculation abounds about who spent £10.3m (including commission) on “The Golden Calf”, a bull in formaldehyde with 18-carat gold hooves and horns. Many thought the garish top lot carried an ambitious estimate, £8m-12m, and would be hard to sell. In the event it proved a nervous moment—there were only two bidders—and whoever acquired it has not been showing it off. The persistent rumour is that the “Calf” has gone to the royal family of Qatar. (Just over a year earlier the emir’s daughter, Sheikha al-Mayassa al-Thani, bought Mr Hirst’s “Lullaby Spring”, a pill cabinet, for £9.65m, the highest price ever paid for a work by a living artist.) When asked about the Qataris, Mr Hirst replies, “I’m sure they did buy things. But it’s all hearsay. I got a call from somebody who said [the Qataris] bought ‘The Golden Calf’ but I think they’re denying it.”
Could any other artist pull off this kind of spectacular trade? Mr Hirst is often likened to Jeff Koons, an American pop artist who overtook Mr Hirst as the most expensive living artist when his “Hanging Heart” sold for $23.6m in November 2007 (see chart 1). Although Mr Koons has a larger-than-life persona and his work enjoys international appeal, he is a conservative market player who issues works in controlled editions of five and concentrates exclusively on the very high end. Nothing could be further from Mr Hirst’s risk-loving manner and his desire to offer work at a range of different prices. “Beautiful” was a success in part because it offered something for everyone.
Mr Hirst, already rich and famous, became richer and more famous. But what of his investors? Two years after the auction, the second-hand trade in Hirsts has slowed to a trickle. Even Sotheby’s, which has had a Hirst in every major contemporary sale in London since “Pharmacy” in 2004, offered none of his art in this year’s evening sale in June. The auction house admits it is avoiding Mr Hirst’s work because it can’t meet its consignors’ price expectations.
The average auction price for a Hirst work in 2008 was $831,000. So far in 2010 it is down to $136,000, a sum that does not even take into account the many lots that failed to find buyers. With prices down to 2002 levels, the artist’s work is outperforming the S&P 500, but is lagging well behind Artnet’s C50 contemporary art index, an industrial average of the 50 most traded post-war artists (see chart 2). The only Hirst pieces that are showing signs of recovery are butterfly paintings, particularly the wing-only works that evoke kaleidoscopes and stained-glass windows. Nine of the ten top trades since the “Beautiful” sale have been butterflies of some sort.
A seller’s disappointment, however, is a buyer’s opportunity. Alberto Mugrabi, a dealer and devoted supporter of most things Hirst, observed the “Beautiful” sale carefully, but bought little. By contrast, he admits to buying 40% of the Hirst paintings that have come up for sale at Sotheby’s and Christie’s in the past year. “I believe in the artist,” he says. The Mugrabi family owns some 110 Hirsts, including an installation that features 30 sheep, two doves, a shark and a splayed cow in formaldehyde. The Mugrabis offered $35m for the artist’s diamond skull, “For the Love of God”, but failed to secure the work that was marketed at $100m and has never sold. “The Mugrabis rarely buy directly from me,” says Mr Hirst. “We can never work out a deal because they want such fierce prices.”
The Mugrabis liken the tumble in Mr Hirst’s secondary prices to Andy Warhol’s in the early 1990s. “In the long term, the market will be more than fine. I couldn’t be more optimistic,” says Mr Mugrabi. Yet they have not invested in Mr Hirst’s latest line of Francis Bacon-inspired skull paintings, saying that they are “not visually continuous with the old work, which we find more beautiful and relevant.” Unlike most of the work, which is made by teams of other people, the artist actually paints these himself. Most of the reviews have been ruthless: “The Worst of Hirst” and “Hirst, Renaissance man, obviously not”.
Americans who did not make purchases at the “Beautiful” sale have recently shown more confidence, buying from Gagosian Gallery’s “End of an Era” show in New York earlier this year. The Broad Art Foundation acquired “Judgement Day”, a giant gold-plated cabinet containing lab diamonds. Millicent Wilner, a Gagosian director, affirms that all 15 new works in the exhibition sold for a total of over $30m.
At the Hong Kong art fair in May a special Hirst stand by his British dealer, White Cube Gallery, was swarming with young people having their photo taken in front of the works. Daniela Gareh, White Cube’s sales director, confirms that it sold to first-time Hirst buyers from Korea, Taiwan and mainland China. “The Chinese respond to branding and Damien is a master brander,” she says. Other Criteria, Mr Hirst’s print business, also did a solid trade at the fair. Photos of Mr Hirst’s most expensive unsold work went like hot cakes. The most popular item was a foot-high image of the artist’s diamond skull, an edition of 1,000, priced at £950.
In 2008 and 2009, Mr Hirst repeatedly made statements like “The first time you sell something is when it should cost the most” and “I’ve definitely had the goal to make the primary market more expensive.” The artist was frustrated by the speculators who were buying from his galleries then quickly reselling his work at auction. Moreover, the acquisition of a package of 12 of his own works from Charles Saatchi for £6m in 2003, far more than what Mr Saatchi had originally paid, may have led to an Oedipal determination to overthrow all the high-rolling dealers and collectors who thought they might lord it over the little artist.
The goal of making the primary works more expensive may benefit Mr Hirst’s personal income in the short-term, but it makes no sense from the perspective of his market. Part of the reason that art costs more than wallpaper is the expectation that it might appreciate in value. Flooding the market with new work is like debasing the coinage, a strategy used from Nero to the Weimar Republic with disastrous consequences. If Mr Hirst were managing a quoted company, he would be unable to enrich himself at the expense of his investors in quite the same way. But Mr Hirst is an artist and, in Western countries, artists are valued as rule-breaking rogues.
Two developments could help Mr Hirst’s secondary market. He has started compiling his catalogue raisonné, a complete list of all the works he has made, which will comfort those who suspect he has made hundreds more spot and spin paintings than he admits to. According to Francis Outred, Christie’s European head of contemporary art, “As with Warhol, this could bring reassuring clarity to the question of volume within each series.” Mr Hirst is also discussing with the Tate a retrospective show to coincide with the Olympic games in London in 2012.
Hirst sceptics point out that the only museum to hold a career survey of Mr Hirst's work was in Naples, Italy, in 2004. From October 28th a private New York gallery, L&M Arts, will show 18 of his earliest medicine cabinets. The changing shape and contents of these pieces are the most intriguing evolutionary thread in Mr Hirst’s work. Indeed, they foreshadow the artist’s drive to assemble objects into auction spectaculars.
Where will the Hirst market go from here? The ball is still in Mr Hirst’s court. “Beautiful Inside My Head Forever” may have been an historic moment in artist empowerment, but such performances risk destroying the delicate ecology of living artists’ markets. Mr Hirst should repair his relationship with his collectors and concentrate on his retrospective. Another “Beautiful” sale could be ugly.


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Sunday, September 5, 2010

David Bowie - FT

The importance of David Bowie

By Paul Morley FT.com
Published: September 3 2010 21:59 | Last updated: September 3 2010 21:59
David Bowie on stage in Rotterdam in 1976
David Bowie on stage in Rotterdam in 1976, the year he made ‘Station to Station’
How much do you like David Bowie? You will have to like him a lot to want to spend more than £80 on a deluxe box set edition of his 10th studio album Station to Station (1976), an ostentatious souvenir collection of memorabilia, outtakes, live concerts, photography, essays, remastered versions, exclusive mixes and heavyweight vinyl inspired by the mere six tracks that made up the original record.
It is a mesmerising album, one of Bowie’s best, which is saying something, as he made many, most of them during the 1970s, that were sold as entertainment but contained the moving detail and mysterious, transformative depth of art.
It may well be one of rock’s very greatest, as a comment both on where the smart, neurotic artist who made it was, psychologically, creatively and commercially, but also where rock music itself was, on its compelling journey from Sinatra, Presley and the Beatles to Prince, Jay-Z and Gaga, from the Velvet Underground, the Kinks and Kraftwerk to Madonna, Nirvana and Nine Inch Nails. It is one of those Bowie albums, like Hunky Dory (1971), or Ziggy Stardust (1972), or Low (1977), or Lodger (1979), that are at times my favourite of his, because they demonstrate with such elan what a sparkling, mischievous mind he had, and what ambition, and what a stupendous ego, and how dangerously charming he was.
His impact as a musician, as a brand, as a sign of the times, has been as great as Dylan and the Beatles, his influence as an otherworldly pop star actually greater, and if you just want one example of what he got up to as this erudite pop combination of shaman, singer, thinker and shameless self-promoter, then Station to Station is as good a place as any. But is all of that worth £80? And does wrapping it up inside such technological and geeky paraphernalia clarify its position as a musical masterpiece, or turn it into a banal collector’s item, a nicely designed object of desire for committed Bowie fetishists and connoisseurs?
There’s no obvious anniversary marking the release of the deluxe edition. It’s a non-special 34 years since Station to Station was produced, coming between the Americanised soul-funk slickness of his Young Americans (1975) album and the radiant, challenging Euro-bleakness of Low. He was working on Nic Roeg’s dark film fable The Man Who Fell to Earth (1976). Peter O’Toole was not available to play Thomas Jerome Newton, an exiled visitor from outer space, a role that seemed perfect for the lost, distracted, preternaturally bright Bowie. Station to Station was a soundtrack that never was to the film as Bowie was strangely not asked to compose the movie’s music. Roeg just wanted the cracked, emaciated Bowie that was falling apart in real life, the wired, burnt-out pop star playing the baffled but brilliant spaceman from the future, part new-born innocent, part ancient guru.
Playing an alien, and having lost sight of his real self after years of relentless shapeshifting, Bowie constructed a new character, the Thin White Duke. Inside six years, since 1970, he’d been a psychedelic music hall singer channelling Syd Barrett and Anthony Newley, a whimsical novelty specialist, surreal folkie, risqué glam rock starman, cosmic wizard, apocalyptic androgynous Diamond Dog and blanked-out white soul man flirting with superstardom. Now, he would play a transparently autobiographical, ghostly, narcissistic, cocaine obsessed, existential adventurer, anxiously yearning for deeper meaning in a superficial, chilling world.
Bowie would kill off the damaged, demented Thin White Duke a little quicker than he killed off Ziggy Stardust, just in case the Duke took over like Ziggy appeared to. The soundtrack to this character showed Bowie withdrawing from his fascination with the expressive, penetrating showmanship of American soul and turning to more enigmatic and forward looking European music. Young Americans, containing hits such as “Fame” and an appearance by John Lennon, was the calculatedly commercial Bowie response to achieving the American fame he had set his heart on. He was becoming so successful he was peering into some form of the middle of the road, a fixed place Bowie wasn’t quite ready for.
Station to Station – feeling hunted, he was moving from place to place, character to character, fixation to fixation, charade to charade – was where he faced his demons, and made a kind of baroque soul music where it is not quite clear if there is soul involved. It retains the iced funk and post disco groove of Young Americans, alongside decaying traces of the kinky folk, metal, glam, and cabaret melodrama he’d passed through in the early 1970s. But it was already anticipating his less obviously commercial next destination, abstract and minimalist European electronic music. Station to Station contains echoes of everything Bowie had done, or was about to do. Previous characters re-dream themselves. It becomes the link, the tunnel, through which Bowie crawled – spent, emptied out – from fraying pop star decadence to the three classic made in Berlin albums he released next. On Low, Heroes (1977) and Lodger, Bowie and close collaborators Brian Eno and Tony Visconti created a stark, pulsating post-pop soundtrack to personal and historical tensions where Bowie broke out into the wider spaces of the universe. On this trilogy, Bowie refrained from entering the worlds himself, and losing himself in all the offbeat theatre. Station to Station was where he recovered himself, or at least enough of himself that he could continue his search for new extremes, and new experiences, and the kind of unusual, unforced new pop music he craved, music that produced worlds all of his own.
. . .
Depending on your age, you might already have bought a few versions of Station to Station. First of all, pretty much on the day it came out, the original RCA vinyl disc, released when the deliciously unstable Bowie dominated the pop planet in a way that makes Gaga, Beyoncé, Florence and co seem a little lightweight. Then, a few years later, the CD version, and then perhaps, depending how much you loved Bowie, a remastered CD version, even a Japanese import. Or two.
Album cover of David Bowie's 'Station to Station'
The original 1976 cover
Digging through my record cupboard, preparing the space for the big box of Station to Station, I find I have the vinyl version, with original black and white cover, and the bright orange RCA label that induces Proustian pangs of feeling for those days when a male teenager could fall in love with Bowie because he seemed so alive, and so scandalously full of himself. I’ve also got a CD version bought at full price, and then one bought for less than a fiver when I thought I’d lost the first one. The music business survived well into the 1990s following a policy of blind greed persuading people to buy albums they already owned all over again on CD. Now, perhaps at the end of its tether, devastated by the arrival of such alternative music sources as iTunes, the music industry is hoping to persuade people to buy once more in a gorgeous new format the same thing yet again, still relying on its back catalogues for sustenance. Or, depending on your point of view, ensuring that in a world where music can be so easily distributed through the air, the album can still exist in tempting solid form, as a tangible thing, something that you can hold, not merely store, and place in a sterile list of your favourite music.
The vinyl version is something that I have clearly held a lot, and loved, and still love, prized like a hardback first edition, now looking strangely oversized and florid in a world where even the miniaturised CD has been replaced by essentially the featureless, soulless, click-click nothing of the download. The CD versions look less powerful, more paperback, and more clinical.
Somehow, an old collection of music that could recently be bought for a few pounds, on the verge of being something you could get on tap, is now on sale, admittedly smartly done up, for almost £90. This is a lavish way of pointing out that a big part of the appeal of a pop record in the last few years of the vinyl era was the combination of the music and the art, the image, the design – the overall story, a constantly developing context – that went with it.
It calls into question just what is going to happen to all those albums that have been made and that artistically deserve to endure now that the era of this kind of vinyl-shaped album is more or less over. What was an album, what is Station to Station, how will we remember it? As a complete, significant work, as a series of loosely connected songs that will just randomly flow off into space and time, separated from each other, available on demand until they just fade away into silence, or some kind of work of art that needs to be celebrated and dissected in this way?
It seems right that David Bowie is at the forefront of such consideration of how vinyl era music – songs and stardom that existed because of the nature of the 45rpm single and the 33⅓ album – will survive this new period in music. He may not have been especially active for the past 20 years or so but he’s never stopped thinking, and plotting, and fastidiously nurturing his image.
After making his extraordinary albums in the 1970s, and inevitably running out of energy in the 1980s, he then settled down into his reputation, his history, with a knowing, Dylan-like acceptance, and an occasional Dylan-like reminder of his unique powers. He wasn’t as aloof and inscrutable as Dylan, but had his own ways of protecting, and projecting, his mystique. In Bowie’s case, this meant not just an occasional good new album, or a memorable tour. It also meant a strategic understanding of how entertainment itself was changing because of the technological progression that meant there would be more and more music, less and less originality, and newer ways of receiving and playing that music. He ended his formal alliances with record labels at the beginning of the century, set himself up as web location, turned himself into a sort of bank, and in 1997 sold his future royalties to the Prudential Insurance Company as Bowie Bonds, leading some wags to suggest he invented derivatives and was directly responsible for the latest recession. A confirmed futurist, he anticipated a breakdown in music industry and media certainties, and prepared himself for the science fiction future he always craved. A future where his 20th-century music could still exist, and still sound contemporary.
Albums such as Station to Station are from the past. Boxing them up in expensive deluxe editions is essentially a commercially based nostalgic act, extending their life as product, to some extent one last mad music industry fling. But the music itself, six songs, expertly weaving their enchanting phantom spell, from the opening title track, an extended montage of despair and determination, lunacy and sorrow, to the final track, a precious, caressing version of “Wild is the Wind” first sung in 1957 by Johnny Mathis, where Bowie appears to repair his self-control, via the tricky, nervily jaunty big hit “Golden Years”, is thus given yet another lease of life. The music is strong and intriguing enough to resist the vulgarisation of being repackaged and resold one more time. Somehow, the ornate deluxe edition of Station to Station says: the album is dead, long live the album.
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From Ziggy Stardust to SpongeBob SquarePants
1947 David Robert Jones born January 8 in Brixton, south London. Shares same birthday as Elvis Presley.
1953 Family moves to Kent. Attends Bromley Technical High School where Peter Frampton, later a rock guitarist, is a friend.
1961 Fight with friend leaves one pupil severely dilated, causing illusion his eyes are different colours.
1963 Leaves school with art O-level. Becomes junior paste-up artist at ad agency.
1964 First release, under the name of Davie Jones, is “Liza Jane/Louie Louie Go Home”. Interviewed on TV as founder of Society for the Prevention of Cruelty to Long-haired Men, he complains, “It’s not nice when people call you darling and that.”
1966 Changes name to Bowie to avoid clash with Davy Jones of the Monkees.
1967First solo album, David Bowie, an odd, jolly mix of pop and psychedelia.
1969 “Space Oddity”, song set in outer space, released to coincide with moon landing
1970 Marries Mary Angela (Angie) Barnett for whom the Rolling Stones song “Angie” was written. Begins unequalled run of 11 studio albums from Man Who Sold The World (1970) to Scary Monsters (1980).
1972 First appearance of glam group Ziggy Stardust and the Spiders from Mars. Produces Lou Reed’s Transformer.
1973 Breaks up Ziggy Stardust and the Spiders From Mars.
1975 Re-release of “Space Oddity” is first UK number one.
1977 Bing Crosby records “The Little Drummer Boy”, with Bowie, a month before crooner’s death. Appears on old friend Marc Bolan’s ITV music show, duetting on “Heroes”. Bolan dies in car crash two days later.
1980 “Ashes to Ashes” is second UK number one.
1981 “Under Pressure”, with Queen, is third number one.
David Bowie in 'The Man Who Fell To Earth'
In ‘The Man Who Fell To Earth’ (1976)
1983 Releases Let’s Dance, produced by Nile Rodgers; title track fourth number one
1985 Having won praise as actor in films The Man Who Fell To Earth (1976), The Hunger (1983), Merry Christmas, Mr Lawrence (1983) and on Broadway in The Elephant Man in 1980, turns down role in Bond film A View to a Kill. Duet with Mick Jagger on “Dancing in the Streets” leads to fifth number one.
1989 Forms Tin Machine. Critics sneer, live album does not chart.
1992 Marries Iman Abdul Majid in Switzerland.
1996 Plays Andy Warhol in Julian Schnabel’s Basquiat.
1997 Releases internet-only single “Telling Lies”. Predicts time when music will be freely available at click of a switch. Sells back catalogue for $55m, creating Bowie Bonds, planning to pay back money from future royalties.
2003 Declines knighthood.
2004 Suffers heart attack, undergoes triple bypass.
2006 Receives lifetime award at Grammys.
2007 Voices Lord Royal Highness on TV cartoon SpongeBob SquarePants.
2010 Lady Gaga says Bowie is her biggest influence and she wants to work with him
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Saturday, August 14, 2010

Shackleton Scotch Freed From Antarctic Ice - Science News - redOrbit


Shackleton Scotch Freed From Antarctic Ice




A crate of Scotch that once belonged to famous explorer Ernest Shackleton was opened Friday, several months after having been rescued from a 100-plus old prison of Antarctic ice.


The crate, which contained 11 bottles of 'Mackinlay's Rare Old Highland Malt Whisky', was discovered along with four others in Shackleton's hut at Cape Royds on Ross Island in 2006. The famed traveler brought the liquor with him during his 1907 Nimrod expedition, according to the AP, and the cases were ultimately discovered encased in ice under the floor boards of the hut.


The liquor inside, however, had not frozen, despite temperatures of -22 Fahrenheit.
The Scotch, which was defrosted at the Canterbury Museum in Christchurch on New Zealand's South Island, will eventually be returned to Shackleton's hut and preserved "for its historic significance," according to the AP. However, samples will be sent to Whyte and Mackay, the distiller who took over Mackinlay's operations, so that they can attempt to duplicate the brew.


"The original recipe for the Scotch no longer exists," notes the Associated Press (AP).
The whiskey was first discovered, along with a couple of crates of brandy, back in 2006 by a team that included Al Fastier of the New Zealand Antarctic Heritage Trust. However, it could not be extracted until January of this year because it was too deeply encased in ice.
"To our amazement we found five crates, three labeled as containing whiskey and two labeled as containing brandy," Fastier told French news agency AFP earlier this year. Also included along with the Mackinlay's Scotch were crates of brandy labeled Chas McKinlay & Co and The Hunter Valley Distillery Limited Allandale.


Whyte and Mackay master blender Richard Paterson previously called it "a gift from the heavens for whisky lovers… If the contents can be confirmed, safely extracted and analyzed, the original blend may be able to be replicated. Given the original recipe no longer exists, this may open a door into history."


Ten of the bottles were reportedly perfectly intact, save for the labels, according to an August 13 press release from the New Zealand Antarctic Heritage Trust.


"It's been a delicate and slow process but we are delighted to be able to confirm that the crate contains intact bottles of whisky," Lizzie Meek, the Antarctic Heritage Trust Artifacts Manager at the Heritage Trust, said in the press release.
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Image Caption: Crates of Mackinlay’s whisky. Credit: nzaht.org
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