Kulfi: an Indian sweet,
Kulfi: an Indian sweet,
Last week, I attended two concerts that showcased the works young composers studying at the Royal College of Music (‘RCM’) in Kensington, London. Most of the compositions were no longer than five minutes in duration. They were performed by musicians, vocalists and instrumentalists, also studying at the RCM.
I am not a musician, but I do enjoy classical music, both historical and contemporary. As a musically uneducated member of the audience, I was puzzled by many of the pieces that I heard. It struck me that many of the budding composers were aiming to make the performers produce extremely unusual sounds from their instruments or with their voices. It seemed to me that the compositions were written to make the performers produce the most unexpected sounds, many of them although interesting were not too pleasing to my ears and definitely atypical of the instrument making them. Tunefulness was of little or no importance in most of the pieces I heard. Many of the vocal pieces performed involved making various hissing sounds without using the vocalists’ vocal cords. The object semmed to be to intrigue the audience rather than to please it.
Each piece, despite my misgivings, attracted generous applause. Either the audience was being kind as many in it were members of the RCM, or they really enjoyed what they heard. I could not decide which was the case.
At the end of the second concert, I wondered how the composers, whose works I had just heard, would ever be able to make a living if they continued composing such unmusical (to my ears) music as I had experienced. Well, I wish them luck.
Last year, we were booking our daughter into a simple home-stay by the sea in Kerala, India. While we sat in the owner’s office, I spotted a framed certificate issued by the Booking.com website. It showed that the home-stay had earned a 9.8 out of 10 satisfaction rating. I congratulated the owner for achieving this. Sadly, he told me, the latest rating was now 9.4.
“That’s still pretty good,” I said.
“Maybe,” the owner replied, “but it keeps going down. The problem is the Indian guests who stay at my place.”
“Why?” I asked.
“When foreigners come and pay £10 per night, they know what to expect,” the owner began, “but when Indians come here they expect accomodation worth £100 even when they are only paying £10”
“The problem is,” he continued, ” that Indians arrive expecting included breakfast, a swimming pool, and other facilities, for which they would usually have to pay £100 or more. These are not available at £10 per night. So, when they write their reviews on Booking.com, they give us a low rating, which is not fair given how little they have to pay. These low ratings bring down my overall rating.”
I sympathised with the man, who then admitted:
“I would rather have no Indians staying here. I prefer the foreigners because they know what to expect of budget accommodation.”
When I stay at places that I have booked on Booking.com, I tend to be over generous with my rating unless there is something very seriously bad about the place. Also, when choosing where to stay, I am not put off by ratings of just over 6 out of 10. I have often found hotels with lowish ratings to have been under-rated because people have been over-critical about minor defects.
So, when you next rate a place you have visited, try to be fair and reasonable with your ratings.
On the water far below
Smoothly sails a barque
View’d from up on high
The River Dart viewed from the garden of Greenway House, which used to be the holiday retreat of author Agatha Christie from 1936 until her death in 1976.
When I was young, before I was about 17, I used to visit Venice annually with my parents. We used to stay in a pensione called ‘La Calcina’. As breakfast and one meal were included in the room price, we used to take lunch in the dining room of La Calcina. Every year, we sat with other regular visitors, whom we got to know gradually. One of them was a somewhat silent American gentleman…
The Calcina’s neighbour, the Pensione Il Seguso, was located on a corner where a narrow side canal met the wide Giudecca Canal. One morning, we were waiting outside the Calcina, trying to decide what to do. It was a bit later than usual, which is possibly the reason that we spotted something we had never seen before. A gondola with green upholstery and other identically coloured cloth drapes appeared from along the side canal and drew to a standstill at the corner near where we were standing. The gondolier was dressed in a livery the same colour as the upholstery and the drapes. After a short delay, the American, who used to sit silently with us at lunch, left the main entrance of the Calcina and boarded the gondola. The gondolier set his vessel in motion. His American passenger sat reading his newspaper whilst he was rowed across the Giudecca Canal. We watched them disappearing along a canal that passed through the Giudecca Island towards the wide open lagoon beyond the island. Naturally, our curiosity was aroused.
That lunch time, the American sat down in his usual place. My mother could no longer contain herself. She asked the American about what we had witnessed that morning. He explained that the gondolier was the grandson of his late mother’s personal gondolier. Whenever he visited Venice, he would hire this same grandson for the duration of his visit. Every morning, he was picked up just as we had observed, and was rowed out into the midst of the lagoon. When they arrived there, he and his gondolier exchanged roles. The American had mastered the art of rowing a gondola, and took his daily exercise by ‘gondoling’ around the lagoon for an hour or so.
The American introduced himself. My father, a knowledgable amateur historian of art, was most excited to discover that our American lunch time companion was William Milliken, a former Director of the Cleveland Museum of Art in Cleveland, Ohio, and a famous historian of mediaeval art.
Later Miss Steiner, a humourless late middle-aged Austrian who managed the Pensione Calcina, told us that Mr Milliken stayed at the Calcina every year during the month in which his mother had died. He stayed in the room that she used to occupy during her visits to the Calcina. Whilst he stayed there, Miss Steiner informed us, the room was always filled with his mother’s favourite flowers, and furnished with the very same furniture that she used to use whilst she was a guest at the pensione.
Mr Milliken died in 1978, at least ten years after I last met him. About twenty years later, I bought a second-hand copy of his book, “Unfamiliar Venice”. This wonderfully illustrated and almost poetically written book, which was published in 1967, describes the magic of Venice beautifully, but makes no mention at all of any of the things we learnt about our solitary American neighbour in the dining room of the Pensione Calcina.
I used to be very apprehensive about flying. It scared me to think that each time we lifted off from the runway might be the prelude to the sudden ending of my short life. I used to read the safety instruction card, and still do today. However, I had little faith that by following the safety instructions, had there have actually been a disaster, would my life have been saved. On one occasion, I became very agitated because the man in the seat beside me had not fastened his seatbelt when instructed by the voice that cracked through the loudspeakers of the ‘plane’s tannoy system. My mother mentioned my concern to him, and I felt reassured when he told us that he worked for BEA (British European Airways) and knew exactly when it was essential to fasten this safety device.
During the 1960s, there were no moving map displays in aeroplanes such as are commonplace today. However, halfway through the flight, a small piece of paper used to be passed from passenger to passenger. It contained a bulletin about the progress of the flight, and it was signed by the pilot. I used to feel privileged being allowed to handle such an important document.
It was many years later that my hitherto irrational fear of flying became rational. I was on a jet ‘plane flying into London’s busy Heathrow airport from where I cannot remember. The ‘plane was descending, the buildings below us were becoming larger and clearer, and most of the clouds were above us, when suddenly the aircraft jolted and began to ascend rapidly.
“We have had to climb,” the captain announced calmly over the loudspeaker system, “to avoid another aircrft that had come into our flight path.”
A few minutes later, we began descending
“We can now continue our landing,” the captain announced in a nervous voice, “There are no other aircraft in our way this time.”
White horse on a green hill
A sign of human life
Visible from afar
White horse on a hillside near Westbury seen from a train window
A fleeting glimpse
In a train window pane:
The wide world passes us by
Totnes railway station
Rails of solid steel extend
From place to place
Past countryside we speed
The first time I encountered the term ‘fire plug’ was when I was researching the life of my great grandfather Franz Ginsberg, who died in 1936. As an 18 year old, he went from his home in the German Empire to the South African town of King Williams Town in 1880. By 1885, he had established a factory for making matches. Such factories are full of raw materials that are prone to catching fire. As his business grew, so did his need for a reliable water supply for dealing with fires.
Water in the Eastern Cape was expensive in the late 19th century. Franz had to apply to the town council for permission to increase the supply of water to his factory. He also needed permission to install more fire plugs. In my published biography of my great grandfather, I wrote:
“Almost a decade later, in 1898, Franz and his brother-in-law Mr Siegfried Salomon (who married Franz’s sister Ida and was a Town Councillor for a while) both applied to the Town Council to have ‘fireplugs’ placed on their premises. This was allowed on condition that the applicants paid the expense of placing them there; and that they would be liable to other charges including a fine of £25 if they used the water from these for any purpose other than the extinction of fire.”
Recently, I visited Windsor Castle, where I saw several signs such as is shown in the illustration to this blog article. They indicate the locations of fire plugs in the castle. Had I not seen the term ‘fire plug’ before while writing about my ancestor, I might not have noticed these small old-fashioned signs.
So, what, you might be wondering, is or was a fire plug? The modern term for them is ‘fire hydrant’. The fire plugs, which were precursors of fire hydrants were simply holes made in the water mains pipe, which were blocked with a plug. The plug could be removed when water was required to extinguish fires.
I suspect that you are by now asking yourself if Franz ever had to make use of the plugs he had requested. Well, he did occasionally:
“In February 1893, the Cape Mercury newspaper published a long article about Franz’s match factory. It begins with a spark of humour:
‘In December last an unusual illumination made a “King” industry more widely known than before. A fire broke out in, and consumed the drying shed at Messrs. Ginsberg & Co.’s Lucifer Match Factory, which is situated in Victoria Street. The loss was not great, but the advertisement was extensive – and cheap – for it was gratuitous.’”
If you want to know more about my ancestor who went to South Africa in search of prosperity and later became a senator in that country, please read:
“Soap to Senate: A German Jew at the dawn of apartheid”
by Adam Yamey.
It is available from: lulu.com, Amazon, bookdepository.com and Kindle