That Pokemon Go, eh? Everyone’s at it.
“So what’s Paper Mario like, then?”
“It’s great,” said Jon, as he gunned the engine and drove the battered old Nissan through the Friday evening traffic. “There’s this bit where you face off against a boss and he shouts ‘SNACK ON MY WRATH, FINK RATS!!!'”.
Do you know Jon? He’s one of Stack Overflow’s biggest celebrities, apparently. People even stop him in the street. His wife, Holly, is a respected children’s author, and also Thomas’s godmother. But I knew them as the people who opened their doors on Fridays (and Saturdays. And Sundays, and often during the week) and gave me a second home back when the millennium turned. Those Friday evenings consisted of cinema visits, followed by Holly’s pasta and wine accompanied by long games of Siedler or Super Smash Bros – usually in the company of our friend Douglas – and the four of us would talk until the stars came out.
I haven’t seen them for years, although we still keep in touch. I miss those Fridays, not least because we liked the same things but had different experiences of them, which always made conversation interesting. Jon was a big Resident Evil fan back in the day, and we loved the creepiness of those early instalments, before it became gung ho and ridiculous. But over the years I’ve managed to remove the rose tints from my glasses. It’s hard to suspend your disbelief when you are faced with such ridiculous dialogue. “Jill?” says Barry Burton, early in the first game. “Here’s a lockpick. It might be handy if you, the master of unlocking, take it with you.”
I still giggle about this, even though it’s fairly typical of the style. I can never work out whether these things are badly translated or simply badly written. In this instance I suspect it’s the latter, and there’s a part of me that laments the fact that designers have obviously poured their collective hearts and souls into refining a project’s gameplay, soundtrack and visual flair, only to stumble at the first hurdle when it came to finding a decent script. I thoroughly enjoyed the first Devil May Cry but it is hard not to stare at the screen and mutter “Whu…..?” when Dante cradles his (supposedly) dead girlfriend in his arms and sobs “I should have been the one to fill your dark soul with LIGHT!!!”.
On the other hand, House of the Dead 2 – or Typing of the Dead, as we came to know it – had pedestrian dialogue, very badly performed, but it doesn’t matter. Gratuitous over-acting is par for the course in many bigger titles, whether it’s Harry Mason’s B-movie schlock in the first Silent Hill, or Roy Campbell’s angst-ridden cries of “SNAAAAAAAAAAAAKKKKE!!!!” in Metal Gear Solid. That’s actually OK. Sometimes the acting suits the mood. And House of the Dead is unquestionably brilliant.
Anyway. When I was a teenager, there was a game called Zero Wing. I’m told it was a reasonable success in the arcades, but I only ever knew it on the Sega Megadrive (or Genesis, if you’re reading in the U.S.). It is a generic side-scrolling shooter with nothing in particular to single it out from all the other side-scrollers that were endemic in late 1980s culture, save its intro. Because said intro has passed into legend as being one of the worst translations in video game history, to the extent that “ALL YOUR BASE ARE BELONG TO US” was a meme even before memes were officially invented. There is even a Bohemian Rhapsody version, if you are so inclined. It is not great – stretching a joke to snapping point seldom is – but it deserves brownie points for trying.
The irony is that the original Japanese dialogue – when tralsated properly – is actually not too bad at all. Observe:
In A.D. 2101
The battle began
Captain: What happened!?
Mechanic: Someone detonated bombs all around us!
Operator: Captain! Incoming transmission!
Operator: Image coming through on the main monitor.
Captain: You… you are…!!
CATS: You appear to be preoccupied, gentlemen. Thanks to the cooperation of the UN forces, all of your bases now belong to CATS. Your ship too, shall soon be destroyed.
Captain: Im.. Impossible! (or F.. Foolishness!)
CATS: We thank you for your cooperation. Enjoy the remaining moments of your lives….Hahahahaha ….
Captain: Launch all ZIG fighters! All we can do is entrust it to them…Give us hope for our future…We’re counting on you, ZIG!!
In A.D. 2101
War was beginning
Captain: What happen?
Mechanic: Somebody set up us the bomb.
Operator: We get signal.
Captain: What !
Operator: Main screen turn on.
Captain: It’s you!!
CATS: How are you gentlemen!! All your base are belong to us. You are on the way to destruction.
Captain: What you say !!
CATS: You have no chance to survive make your time. Ha ha ha ha…
Operator: Captain !!
Captain: Take off every ‘ZIG’!! You know what you doing. Move ZIG. For great justice.
I can’t remember the exact moment I thought a Doctor Who rendition of this would be a good idea, but I finally got round to doing it last week. I will spare you the technical details, except that I used different software in order to get the font the way I wanted it, and said software (which I will not name) proved to be more trouble than it was worth, but we got there eventually. Footage is all New Who based because it saved fiddling with aspect ratios (and besides, the ‘Cat’ substitute actually works pretty well). If it looks somewhat grainy, that’s all part of the fun. This whole experience has kind of put me off doing intros for a while, but when I eventually take it up again I really ought to work in that line from Paper Mario, simply because it’s great. It’s just a question of figuring out how to do it.
Jon would know. Maybe I’ll email him.
The first time I really became aware of television was the early 1980s. There were four channels filled with light entertainment, grainy video-shot soaps and the slightly creepy atonal horn motif that denoted the Open University programmes. The thought of an entire station dedicated to children’s broadcasts – let alone four or five – was a distant novelty. We had to put up with the odd half an hour of cartoons in the mornings (mostly The Pink Panther) and half an hour after lunch, and that’s your lot.
I’m a sucker for details when it comes to things like this. There are various programmes I remember, many of which subsequently passed into obscurity and which my friends and colleagues would categorically deny existed until – oh, sweet rapture! – the arrival of YouTube, and decent quality, ready-to-stream video that proved (once and for all) that I was right all along. Oh, it’s easy when it’s something like Chock-a-Block – the antics of Fred and Carol and their electric cars were familiar talking points around many a primary school water fountain – but when I talked about Wattoo Wattoo Super Bird I got met with a sea of blank looks. And then it was on YouTube and the rest was history. I dearly wish I could find a version of that in English, but at least I can now prove I wasn’t making this shit up.
A programme whose existence you never had to contest was Camberwick Green, which – to those of us growing up in the 1970s and 1980s – was as regular in the fixtures as Bagpuss or You and Me. “Here is a box,” announced narrator Brian Cant (omnipresent in more than one sense of the word; was there a BBC children’s programme in 1981 that didn’t involve him in some aspect or other?). “A musical box. Wound up and ready to play.” And thus the box would open – its triangular spikes retracting like some sort of art deco prison – and the character for the day’s episode would rotate upwards through the opening, peering through the deconstructed fourth wall and seemingly not caring that there was a huge head in the sky looming over the set, watching Trumptonshire’s every move like a hawk, or at least a very interested chaffinch.
Camberwick Green was one of those idyllic rural places where nothing much happened, and the nothing much happened very slowly. It was a village (supposedly in Sussex, but who knows?) where millers wore smocks, women gossiped and everyone knew everyone else. The postman danced with his postmistress before delivering the mail. The aforementioned miller rode a tricycle and played chicken with the windmill sails. The local doctor led a protest to stop a destructive piece of urban development that turned out to be a simple misunderstanding. Oh, it was all going on in Camberwick Green. On the outskirts of the village sat Pippin Fort, where six raw but well-intentioned recruits would parade and solve local problems, and then presumably get hopelessly drunk in the village pub (never seen or mentioned, which retrospectively seems a little odd).
Camberwick Green was launched in 1966, some fifty years ago last January, and adventures in Trumpton and Chigley followed a couple of years later. Trumpton was a fully working town in its own right, complete with a carpenter’s workshop, Miss Lovelace’s hat emporium and the much beloved Trumpton Fire Station, whose crew (due to technical limitations) never had to actually put out a fire, leaving plenty of time to rescue lost hats, erect bill posters (or, to be specific, fail to do so) and practice for the daily band concerts, where they would always play the same tune. “There were no fires in the afternoons,” Trumptonshire Web puts it, “but then there were no fires in the mornings either.” Meanwhile, Chigley was a tranquil but industrious hamlet nearby that revolved around a local biscuit factory, owned by the affable Lord Belborough – a dignitary rather too in touch with his inner child, given that he would leave the solitude of Belborough Hall on the slightest whim to travel up and down the local branch line on Bessie the steam engine, ably assisted by his trusty manservant, Brackett.
For people who skipped the 1990s it’s hard to explain just how much these characters permeated popular culture. There was the episode of Whose Line is it Anyway? in which Tony Slattery and Josie Lawrence redubbed a scene from Camberwick Green between Mickey Murphy and local gossip Mrs Honeyman. Years before Life on Mars?, there was the Spitting Image thing. Most of all there was the music, whether it came in the form of Half Man Half Biscuit’s riotous (almost literally) take on ‘Time Flies By’, or the bizarre, done-on-a-shoestring / could-this-be-any-more-1992 acid anthem that was ‘A Trip To Trumpton’.
You see what I mean.
There was an innocence to the whole thing, even in the notorious scene in which Windy Miller gets drunk on his homemade cider (or ‘sleepy’, as Cant puts it). It’s the sort of innocence that came to later define programmes like Balamory – a show about adults who behave a little like children, and solve their problems in much the same way. There was something sweet about a fire crew whose greatest challenge was a stranded cat (did they attend the same training academy as the crew from Pleasantville, by any chance?) and the tortoise and hare encounter that is Windy’s race with Jonathan Bell the farmer. But as with many children’s programmes, the greater the innocence, the more marked the contrast when you undermine that innocence – there are, for instance, assorted urban legends about Gordon Murray’s decision to burn all the puppets in his back garden after completing filming (although he may have kept one or two). It’s the sort of vibe that Radiohead presumably tapped into when they commissioned their video for ‘Burn the Witch’, a stop-motion affair that mashes up Camberwick Green with The Wicker Man – a film whose director, by curious coincidence, also died this week. It’s the sort of thing that really shouldn’t work, but it does.
You can’t call the deaths of Robin Hardy or Gordon Murray in any way tragic, given that Hardy batted for 86 and Murray was just five shy of a century. But it’s difficult not to feel a sense of nostalgia at the passing of Murray (we’ll deal with The Wicker Man another time, but suffice to say that nostalgia wasn’t exactly on the radar yesterday). The success of Trumptonshire owes much to Cant – and also to scriptwriter Alison Prince, whose narratives were always engaging without being complicated, and necessarily formulaic without being repetitive – but ultimately it was Murray’s creation, and we thank him for it: this fabulous county of hedgehogs and fishmongers, of biscuits and six o’clock dances, of parks and bandstands, and of nattily dressed doctors travelling round the countryside in vintage cars.
1. The ‘I did this last year but it sort of fits’ meme.
2. The Biff Tannen.
3. The ‘Totally random and seemingly unconnected but ultimately prophetic’ one.
4. The ‘Use a pen. FOR GOD’S SAKE USE A PEN!’ fiasco.
5. The morning after.
6. And finally.
This may be an overreaction. But it sort of fits.
We interrupt our normal scheduled broadcasts to deal with the elephant in the room. Here’s my take on things.
1. What follows isn’t a perfect extended metaphor – as Gareth pointed out, “It says ‘why is this stupid thing a referendum in the first place?’, but most people who think that are Remain, since not having a referendum allows remaining.”
2. I’m not a political commentator and don’t pretend to be. I’m just tired of the whole thing. I know where my loyalty lies – purely from my own perceptions of what constitutes common sense – but I’d really rather not have to do this, particularly when it’s ripped the country more or less in half. I don’t advocate Brexit but nor do I fear change: I accept that at some point (not now) leaving the EU may turn out to be the best option. But I’d rather it was decided by people who actually know what they’re talking about, which is not (from what I’ve seen) most of the country.
3. Yes, I will be voting on Thursday. You’ve kind of forced my hand really, haven’t you?
The Jones family needed a new car. Their old one, they decided, was getting past its sell-by date. It was still roadworthy, but it needed quite a bit of attention these days, and it was only a matter of time before it would need replacing.
Mum and Dad had talked for a while about what sort of car they should get. They’d asked friends for their views and Dad had looked in some magazines and had a brief search on the internet, but they hadn’t yet found the time to go to a dealership to have a proper look. All the while, the kids were whining. “When can we get the new car, Dad?” “What sort of car is it going to be?” “C’mon, Dad. All our friends laugh at us. Can’t we get a new car tomorrow?”
That was when Dad had his bright idea.
“We’ll let the kids choose the car!” he said.
Mum wasn’t sure. “I’m not convinced by that,” she told him. “I love our kids to bits, but they’re not exactly experts. Why don’t we get an idea for the sort of car they want and then see if it fits in with what works best for the family?”
But Dad was shaking his head vigorously. “No, no,” he said. “It’s a great idea. They choose the car, the pressure’s off us. And it’s what they want. They’ll be thrilled that we’ve given them what they want! Everyone wins!”
“What if they have their hearts set on something we really don’t want?”
“We’ll overrule them.”
“That won’t make them happy.”
“I won’t tell them, then. Not until the decision is made.”
“Don’t you think they’ll be cross when they find that out?”
“Oh, only for a while.”
Mum still wasn’t sure. But when Dad had made his mind up there was no stopping him. And so one Saturday afternoon, the family – Mr and Mrs Jones, and their children, Simon and Celia, were off to the local dealer. Mum had said that they might want to consider doing a bit of online research first, but Dad thought that was overkill. “Just ask your friends what they think,” he said. “That’ll help you decide.”
They hadn’t even got to the ring road when the trouble started.
“A blue one.”
“No, a red one.”
Simon wanted blue. Celia wanted red. Simon thought red was too close to pink, which was a girl’s colour. Celia thought this was a ridiculous argument. So for that matter did Dad, but he didn’t say anything, purely because he wanted to remain impartial.
They got to the dealer and were momentarily overwhelmed by choice. There were big cars and small cars and long ones and short ones. There were cars for families, cars for couples, sports cars and saloons. There were vehicles for the town and big, gas-guzzling off-road vehicles for the country, most of which would probably end up being driven round the town on the school run.
For a moment, the Jones family were wrapped in a congenial bubble of attentive silence. It was broken by Celia.
“That one!” she shouted.
The car was big and dark green and cost about as much as the annual GDP of Luxembourg. Mum hated it.
“It’s a bit…well, big, isn’t it?”
“But it’s got so much space!”
“Darling, it’s got space for seven people. I don’t think we’ll need that. Your Dad’s had a vasectomy.”
“But we can fold the seats down and go camping in it!”
“Celia,” Mum reasoned, “We all hate camping.”
“We might not, though, if it’s easier.”
Simon, meanwhile, had his eye on a flashy sports number on the other side of the lot. It was bright yellow and had mechanical doors.
“This one,” he said to his father.
His father raised an eyebrow. “It’s only got two seats. What happens if we want to go somewhere as a family?”
“We can take it in turns to take the bus.”
“What if there isn’t a bus?”
“We can get two of them, then.”
“I’m not sure you’re really thinking this through,” said his father. “What about something a bit bigger?”
Simon headed over to the family car section, stamping his feet moodily. Meanwhile, Celia was looking at an estate.
“What about this one?”
“Well, it’s a Renault,” said Mum, “and they’re not always the most reliable of beasts.”
“But I like it. I like the name. It sounds foreign and exciting.”
“But you don’t really know anything about them,” said Mum, who was reasonably well-versed in the reliability or otherwise of Renaults.
“It feels right, though,” Celia insisted. “It feels like this is the right car for us.”
“I realise that, darling,” Mum said. “But we have to go on more than a feeling.”
“So you’re saying that my gut instinct is wrong?”
“Forget it,” said Celia, folding her arms sulkily. “I get it, all right?”
“Celia,” Mum said, “I think you’re getting a bit cross, and I can understand that, but you haven’t considered the fact that I might know more about this than you do.”
“Well, why’d you ask me to choose then?”
“I didn’t,” said Mum, sighing a little.
Simon came over. “I’ve found it,” he announced. “I think we should get that one.” And he pointed at a large four-wheel-drive jeep.
“It runs on diesel,” said Dad, who had been looking at the information card in the window. “Diesel tends to be quite expensive round here. Also it’s got a lot of mileage for a vehicle this age.”
“Yeah, but it’s cheap,” said Simon.
“Cheap doesn’t always mean good,” Dad explained.
“But we’ll have more money to do other things,” said Simon. “You can give us more pocket money if you’ve spent less on the car.”
“Ooh!” said Celia. “That means we can buy more things! There are loads of new magazines out that I’m interested in. I can get a subscription.”
“Yeah, and I can get – ”
Dad shook his head, trying not to make eye contact with Mum, who was staring at him very hard. He told himself that he’d made the right decision, letting the kids choose. Having them fantasise about money was preferable to having them fight, at least.
Unfortunately, that was what happened next.
It didn’t take a genius to work out why Simon and Celia were arguing, which was lucky for Dad. Mum sighed and rubbed her temples, which had started to throb. People were staring. Dad took both his children by the collar. “Listen, you two,” he said, in a venomous hiss. “You’re embarrassing yourselves, and me.”
“And me,” Mum added, slightly put out.
“And your mother,” Dad added hastily. “Now will you please make a decision?”
“I WANT THAT ONE!”
Both children were pointing at different vehicles, both prohibitively expensive and entirely unsuitable for a family car. One was a two-door GTI, brand new. The other was a hearse.
“I don’t think you’re really thinking this through,” he said. “I don’t think you’re making the decision for the family; you’re making it for yourselves. You mean well but you don’t really know cars. You don’t really know how much money we have to spend or how much we’re likely to need.”
“We sort of know,” said Simon.
“You don’t really know, though,” said Dad. “You just think you do.”
“But we want to help!” said Celia. “It’s our car as well, isn’t it?”
“Of course it is,” Dad said. “But maybe the best way to have you help would have been for me to find out what you like and then make the decision in conjunction with your mother, rather than letting you make the choice. That’s our job, after all. Sometimes we have to decide these things ourselves.”
“So you’re saying our opinion doesn’t count?” asked Simon, hotly.
“No,” said Mum. “We’re saying that we know things you don’t, and understand things you don’t. That doesn’t mean we always get it right, but we can look at this properly. You two aren’t really trying to find the best car for the family anymore, are you? You’re just arguing about who’s right. That’s really what this is about.”
Celia said nothing. Simon shuffled his feet.
“Maybe,” said Dad, “I made a mistake in telling you that you could choose.”
Mum raised an eyebrow. It was a look that clearly said Now you’re getting it, doofus.
Three seemingly unrelated nuggets:
1. There’s a new Ninja Turtles film out.
2. Over the weekend I met Steve Benham, famous for portraying Heather from Eastenders in Harry Hill’s TV Burp, who starred in this scene.
3. Yesterday was Father’s Day.
Anyway, you can’t unsee this, can you?
Actually, I just popped in to show you the pictures my children did for the card they gave me. Because they’re awesome. And if you squint, it really does look like that bear is wearing a fez.
They know me rather well, I’d say.
(If you’re reading this on a phone or tablet there is a chance that the embedded video may be unavailable to you. If that’s the case, I’ve left another version at Vimeo; that one should work.)
You say ABBA, you think ‘Dancing Queen’. You think Eurovision and ‘Waterloo’. You think Meryl Streep crying on a hill. You think Pierce Brosnan belting out ‘S.O.S.’ in the manner of someone having a prostate exam off camera (not my joke). You think flashy costumes and a certain joie de vivre.
Because no one likes to remember how utterly miserable they were by the time they disbanded. ABBA were a group who bore their hearts on their sleeves, or at least that’s the way it looked to the rest of us, whether it’s the raw emotion of ‘The Winner Takes It All’, the slightly manipulative but no less heartfelt sadness of ‘Slipping Through My Fingers’, the parenting anthem to end all parenting anthems (with the possible exception of ‘The Living Years’)…even something as outwardly upbeat as ‘When All Is Said And Done’ is amicably miserable (though it does include the line ‘not too old for sex’, so every cloud). I’m not saying we ignore the miserable bits, more that we tend to give more airspace to something like ‘Fernando’ than something like ‘One Of Us’. (I’ve never much cared for that song, although that’s the point at which Agnetha permed her hair and I stopped fancying her, so maybe that had something to do with it.)
The starkness plays out in that final album. The Visitors is possibly the best thing they ever did, tapping new and uncharted musical territory – an almost industrial technopop that was years ahead of its time and which Andersson and Ulvaeus would see come to fruition of a sort when they finished Chess, even though that’s still fairly theatrical. But it’s those two non-album singles – ‘Under Attack’ and ‘The Day Before You Came’ – that make the playlists, despite an initially lukewarm reaction from an audience that wasn’t ready for anything like this and had in any case more or less lost interest. Years later the latter regularly tops fan polls. I wonder if in years to come we’ll view ‘Fear Her’ with such retrospective acclaim.
…No, I don’t think so either.
The Wikipedia entry for ‘The Day Before You Came’ is worth reading, but I’ll summarise the best bits –
– Despite the minimal backing track, what really stands out is Agnetha’s voice, which is by and large sung in her native Swedish accent, rather than the twang she would adopt for other recordings
– The song’s meaning is the subject of intense scrutiny and debate – is this a song to a boyfriend? An ex-boyfriend? A murderer? Did her mundane life change for the better when this mysterious figure arrived, or did it in fact get worse? (The video goes some way to explaining this, although if you need a video to explain a song, the song’s a failure, so I prefer to think of the video as an afterthought)
– She left at 8 am and was at work by 9:15; conversely she left at 5 pm and didn’t get home for three hours. I know the woman stopped to pick up a Chinese but even allowing for rush hour traffic there is something going on here.
– Myself, I’ve always liked the image of Agnetha alone in the studio, completing the final recording with the lights out, as a musical union that’s outlasted two marriages limps along to its final, scrappy conclusion. Roll credits.
Anyway. Why the hell hasn’t anyone done something with Doctor Who? When you consider the new series’ focus on companions and the way their lives are changed by the arrival (and eventual departure) of the Doctor, isn’t it an obvious fit? The Doctor has a habit of blustering in, acting as a catalyst for revolution and reform and then making a quiet exit so someone else can clean up the mess. Doesn’t he have a tendency to treat people the same way?
What annoyed me intensely was that all those departure / regeneration scenes I found myself mocking when I watched the episodes that contained them took on a sudden emotional resonance when I looked at them again. I mean, I was crying at the Doctor / Verity Newman scene in ‘The End of Time’. That scene is faintly ridiculous and here I am wiping my eyes clean. Then I was crying at Rose. Dammit, I’m one of the ones that smirks whenever this sort of thing shows up on the Tumblr feeds. WHY IS THIS UPSETTING ME? I’M SUPPOSED TO BE DEAD INSIDE!
That’s a roundabout way of saying that I made this last week, feeling sad and not really knowing why. Perhaps I knew, on one level or another, that this week would be the way it was. And I do feel sad this week, more than I can tell you. The world seems to have no real sense of self, just a collection of squabbling factions and misunderstandings and hatred and bile. I feel as if we’ve broken something we’re not going to be able to fix in a hurry, and rather than actually sitting down and working out how it broke and what we can do to piece it back together, we’re just kicking the fragments round the playground like angry schoolchildren.
And I don’t know the answer. I don’t. But I know that’s no way to run a planet.
Postscript: episodes used, in order of first appearance –
The Zygon Inversion
Smith and Jones
Partners in Crime
The End of Time
Parting of the Ways
Day of the Doctor
The Bells of Saint John
The Wedding of River Song
The Angels Take Manhattan
The God Complex
The Fires of Pompeii
Army of Ghosts
Last of the Time Lords
Death in Heaven
The Eleventh Hour
The Name of the Doctor
Face the Raven
Five memes. Some are Who-connected. Most are not.
1. The obligatory Bing thing
2. The ‘two cultural references in one meme’ / ‘well, there’s sort of a Big Barn Farm connection’ thing.
3. The obligatory Dinopaws thing.
4. The ‘vaguely topical’ / ‘why didn’t I think of this one earlier’ thing.
5. And finally, the ‘Catastrophic revelation’ one.
Have a lovely Sunday!
Note: the following is a composite of several conversations, thrown together for the sake of coherence.
“What I don’t understand,” said Emily, “is why you’ve called it the Mindfulness Collection.”
“What do you mean?”
“Well, I know you were poking fun, but Mindfulness is actually a thing. It’s recognised and it’s supposed to work. It’s all about meditation and focus.”
“I know all that. That’s not really my target. I’m poking fun at this ridiculous culture we have.”
“Adult colouring among other things. It was fine at first but now it’s got completely out of hand. The whole unique and beautiful snowflake philosophy. I know it’s supposedly about learning the compassion but it all seems very goal-focused and selfish when it’s applied in our society.”
“And it doesn’t mean anything .”
“It doesn’t. It’s just a bunch of idioms thrown together in the form of a composite. It’s like this whole obsession with ‘spirituality’, which is basically religion for people who don’t want all the difficult stuff.”
“Not just spirituality,” she said. “Vague Sense of Spirituality, remember?”
“What annoys me about the colouring,” she said, “is that I was doing it first and then it became a huge thing and now I just feel like I’m following a trend.”
“You set the trend,” I said.
“I am good at that.”
“I’m not opposed to the principle of Mindfulness per se,” I said. “Just the relentless Westernisation of it. I mean they even do it in offices now. They have seminars. The tree-hugging hippy crap I found in that Ladybird book I told you about.”
“Absolutely. As long as you take into account that’s not actually Mindfulness.”
“Tell you what. If I call it the ‘Mindfulness’ collection, would that work?”
“Yes,” she said. “That’ll work.”