This is the first in a short series of posts about our holiday in British Columbia, the western-most Canadian Province. I will write most of the series when I get home, mainly because of the cross-network data costs here in Canada. I'll be up-dating my facebook status each time I post a new episode.
Just three more days before we head for home, and we'll be sorry to go. Throughout this holiday we experienced cities, small towns, wilderness and even a mountain-top or two; we walked, cycled and kayaked, and came across bald eagles, whales, seals and black bears. Not bad considering we hadn't before really considered Canada as a place we particularly wanted to visit on holiday. We are both so very glad we came.
As usual on our holidays we went from place to place, to get as broad an experience as possible; our route taking us from Vancouver to Whistler and back, to Vancouver Island for Victoria and Ucluelet, then back to the mainland for Powell River, and finally (in a few days from now) to Vancouver again for the flight home.
In later posts I will go into detail about the places we've been, the things we've done, and what we've seen. I'll also be writing about my impressions of the country and people over in this corner of the great North American continent.
I'm going to end this introduction here, because two-thumb typing this on my mobile's keypad is painfully slow; but look out for the next installment, which I'll announce in my facebook status, if that's your thing.
27 July, 2011
27 May, 2011
SF for boys AND girls!
A recent report on radio speculated as to why fans of science fiction are, in the main, male, since so many science fiction authors are female. I think there is confusion here: males constitute the majority of the fan base for SF on screen, but the literature is read by both sexes. I've said it before, but SF on TV and in movies is about eighty years behind the literature, with some honourable exceptions. Most people equate SF with Star Trek, Star Wars and so on, but a lot of the stories carried in these series are mainstream fiction in a science fiction setting. When I watch this stuff, I often think, "why is this classed as SF?", because the same story could be told in almost any genre, or even in a non-genre form. The SF is simply set dressing.
Anyway, I've allowed myself to become distracted, because I was going to write about the 2003 TV series Firefly, but when I started thinking about it, I realised that this series had something in it to appeal to both genders: lots of action, fighting and tech for the boys, and relationship developments and character building for the girls. Well, I'm obviously stereotyping here and should probably get shouted at for that last sentence, but the point is that the writing on Firefly was very rounded, appealing, I would have thought, to fans of drama, romance and mystery as well as to fans of SF.
Firefly was yet another cult series commissioned and cancelled by Fox after their usual genius fashion, getting us hooked on something, then whipping it out from under us, leaving us bereft. Produced and co-written by Joss Whedon (Buffy the Vampire Slayer, Angel), Firefly has his familiar deft touch in drama and humour. The story is simple: there is no huge quest, the main protagonists are not extraordinary people, and there is no major political issue. Ex-soldier Mal Reynolds (Nathan Fillion) is the captain of the Firefly class cargo ship Serenity, trying to eke out a living in a post-war galaxy. He and his first officer, Zoe Washburn (Gina Torres) fought, on the losing side, for independence against the unifying force of the Alliance, but, whereas other writers might have depicted them waging a resistance war against the Alliance and trying to overthrow them, Whedon has resisted this temptation, and instead tells an everyday story of simple trading folk. This doesn't mean that there's no action; far from it: it's simply not possible to earn a big enough profit to keep a Firefly trader flying by purely legal methods; which, of course, means getting involved with smuggling and the dodgy characters associated therewith.
The clever bit in Firefly is in the mixing of past and future to make a plausible "now" for the purposes of the story. A lot of the worlds Serenity carries her wares to are frontier colonies, with Western-style clapboard houses and mud streets, and there are broad brimmed hats, low slung shooters, horses and carts as the main form of transport, and a general absence of law. This is mixed with run-down privately owned trader spaceships, shiny hi-tec Alliance spaceships, directed energy weapons that look like six-shooters and interplanetary communications. It's neither Mad Max dystopia nor Star Trek hi-tec shiny utopia, but a more realistic-feeling something-in-between.
The ship Serenity, herself, has a well used, patched up look, and is a major character in the series. Every deck was built in full on the lot, so that following shots can run from the bridge to the cargo bay. According to the cast, it became a very real place for them. A lot of what the crew do is motivated by keeping the ship up and running, so that she, in turn, can be used to earn them a living. Sometimes the crew are living on survival rations, because buying parts for the ship takes priority over having fancy food to eat. After a profitable bit of trading, the crew can be seen chowing down on fresh fruit and vegetables, luxuriating in the extravagance of it - it's obviously a rare treat.
The ship is well loved, and it is home to the crew of nine, as well as a means of transport and trade. There is a scene showing Mal Reynolds falling in love with the Firefly at first sight, obviously seeing its potential over the other vessels on offer. He calls her Serenity after the battle of Serenity Valley, which saw the end of the Independents' resistance to the Alliance, and in which all but one of his squad were killed. And that was a huge squad, as officers above him were killed, their units came under the then Sgt Reynolds' command. He was hugely admired as a commander, but could do nothing against the superior numbers and technology of the Alliance: the pain of all those casualties forged his character as an indomitable adversary, and protector of his crew. Whatever threat is made against his crew or his ship, Reynolds never gives up until they are safe again, and this portrayal makes him a tremendously strong character in the series. Why does he do it? "My crew, my ship. MY. CREW." is his answer, and you never doubt him for a moment.
The other person in love with Serenity is her engineer, a young woman called Kaylee Frye (Jewel Staite). Although without any formal training, she has a natural affinity for engines and engineering, and keeps Serenity flying through intuition and innovation. Often having to make do with what's available, she jury-rigs systems to keep everything going, so puts her heart and soul into the ship and won't have a word said against her. Kaylee is the cohesive force in the crew, balancing the authority figure of Reynolds: she always sees the best in everyone and in every situation, and is the first to comfort crew-mates in distress, or to try to resolve conflict between them. Consequently, she can get very hurt if anyone says anything to denigrate her (or Serenity). Staite is well cast for this character, having an open, friendly face, quick to smile, and is very convincing as this likeable girl. She puts in a tremendous performance, and you immediately warm to her - I mean immediately, as in: within the first half hour of the first show; so you are very shocked and dismayed when she is shot and critically injured. The way the character has chalked her name hippie-style, surrounded by flowers, on the door of her quarters says so muh about her immediately. It's a very clever device, not only adding to the characterisation, but the contrast between the coloured chalk and the grey metallic door it adorns also says so much about the crews' lives, making the best of what they've got, and making what they've got all theirs.
Some clever techniques are used to make you feel in the "now" of the show. One of these is language and culture. The premise of the society at this future time is that two dominant cultures pushed out into space: Eastern/Chinese, and Western/American, so everyone speaks Mandarin as well as English. The crew will often drop into Mandarin, particularly to vent anger at, or frustration with, another character or the situation. The cast had to learn how to pronounce the Mandarin lines properly, so the feeling of it being real is maintained. Most of the lines said in Mandarin are ones that it wouldn't matter if the viewer didn't understand, and it also gave them a way of getting a few choice obscenities past the censors. English is spoken with a convincing idiomatic combination of cowboy and neologisms. Sentence structure and phraseology is archaic, with some words being assigned new meanings, such as "shiny" being used to mean "great", "fine" or "excellent". For example:
MAL: "Problem?"
KAYLEE: "Nope. No. Everythings shiny."
The slang isn't so dense that you can't make sense of it, but it's different enough from modern English to convince you that you're in a different time.
Novel or uncommon production techniques are also used. At a time before it became de rigeur in such US dramas, single hand-held cameras are used almost throughout. Some of the focusing and framing is deliberately sloppy and amateurish, to make you feel like you are there, looking from person to person, and not absolutely catching every movement or facial expression. You might see someone's expression start to change, just as the camera sweeps away to look at someone else: you don't see the full expression, but you get enough of a glimpse to know what they're thinking. These techniques are even carried over into the CGI shots: you might be looking at a spaceship running at speed in the atmosphere, but it's like an amateur operator trying to follow a Formula 1 car with a pocket video camera - it never quite gets centred, and focus is lost and regained, while the camera zooms in during the shot, as if in an attempt to get detail, but then zooms back out again as if the camera operator has realised that framing and focus would be too hard to maintain at those zoom levels.
I picked up the box set of Firefly after having seen the feature film Serenity when it was aired recently. The programme guide that said it was based on a TV series called Firefly, which has never been on free-to-air TV, only on Sky, so I'd never heard of it. When I saw the reviews on Amazon, and that it was only £12.95-ish for the series, I decided to get it on the off chance. I loved it, as you can see, and like all the other fans who bought the box set, cannot for the life of me fathom why they cancelled it. There were a lot of threads that had been introduced in what should have only been the first series, that never got resolved. Some were tied up in the feature film, but there are so many open stories, many about characters I've not even mentioned in this review, it should have gone on for at least three seasons. Exactly what did the Alliance do to River Tam to turn her into a both a nervous, emotional wreck and a killing machine? Will Kaylee ever get to be with River's brother, Dr. Simon Tam? Will he-man Jayne Cobb ever get over having a girl's name? Who are the men in blue rubber gloves? And will Inara, a professional courtesan and Companion, ever admit her love for Mal Reynolds? If the TV series is ever picked up again and continued, will they go with the consequences of the events in the feature film, or will they rewind to the end of the first series? These questions and many more will probably never be answered; and I'll say no more, because that would spoil things if you want to watch these yourself.
Anyway, I've allowed myself to become distracted, because I was going to write about the 2003 TV series Firefly, but when I started thinking about it, I realised that this series had something in it to appeal to both genders: lots of action, fighting and tech for the boys, and relationship developments and character building for the girls. Well, I'm obviously stereotyping here and should probably get shouted at for that last sentence, but the point is that the writing on Firefly was very rounded, appealing, I would have thought, to fans of drama, romance and mystery as well as to fans of SF.
Firefly was yet another cult series commissioned and cancelled by Fox after their usual genius fashion, getting us hooked on something, then whipping it out from under us, leaving us bereft. Produced and co-written by Joss Whedon (Buffy the Vampire Slayer, Angel), Firefly has his familiar deft touch in drama and humour. The story is simple: there is no huge quest, the main protagonists are not extraordinary people, and there is no major political issue. Ex-soldier Mal Reynolds (Nathan Fillion) is the captain of the Firefly class cargo ship Serenity, trying to eke out a living in a post-war galaxy. He and his first officer, Zoe Washburn (Gina Torres) fought, on the losing side, for independence against the unifying force of the Alliance, but, whereas other writers might have depicted them waging a resistance war against the Alliance and trying to overthrow them, Whedon has resisted this temptation, and instead tells an everyday story of simple trading folk. This doesn't mean that there's no action; far from it: it's simply not possible to earn a big enough profit to keep a Firefly trader flying by purely legal methods; which, of course, means getting involved with smuggling and the dodgy characters associated therewith.
The clever bit in Firefly is in the mixing of past and future to make a plausible "now" for the purposes of the story. A lot of the worlds Serenity carries her wares to are frontier colonies, with Western-style clapboard houses and mud streets, and there are broad brimmed hats, low slung shooters, horses and carts as the main form of transport, and a general absence of law. This is mixed with run-down privately owned trader spaceships, shiny hi-tec Alliance spaceships, directed energy weapons that look like six-shooters and interplanetary communications. It's neither Mad Max dystopia nor Star Trek hi-tec shiny utopia, but a more realistic-feeling something-in-between.
The ship Serenity, herself, has a well used, patched up look, and is a major character in the series. Every deck was built in full on the lot, so that following shots can run from the bridge to the cargo bay. According to the cast, it became a very real place for them. A lot of what the crew do is motivated by keeping the ship up and running, so that she, in turn, can be used to earn them a living. Sometimes the crew are living on survival rations, because buying parts for the ship takes priority over having fancy food to eat. After a profitable bit of trading, the crew can be seen chowing down on fresh fruit and vegetables, luxuriating in the extravagance of it - it's obviously a rare treat.
The ship is well loved, and it is home to the crew of nine, as well as a means of transport and trade. There is a scene showing Mal Reynolds falling in love with the Firefly at first sight, obviously seeing its potential over the other vessels on offer. He calls her Serenity after the battle of Serenity Valley, which saw the end of the Independents' resistance to the Alliance, and in which all but one of his squad were killed. And that was a huge squad, as officers above him were killed, their units came under the then Sgt Reynolds' command. He was hugely admired as a commander, but could do nothing against the superior numbers and technology of the Alliance: the pain of all those casualties forged his character as an indomitable adversary, and protector of his crew. Whatever threat is made against his crew or his ship, Reynolds never gives up until they are safe again, and this portrayal makes him a tremendously strong character in the series. Why does he do it? "My crew, my ship. MY. CREW." is his answer, and you never doubt him for a moment.
The other person in love with Serenity is her engineer, a young woman called Kaylee Frye (Jewel Staite). Although without any formal training, she has a natural affinity for engines and engineering, and keeps Serenity flying through intuition and innovation. Often having to make do with what's available, she jury-rigs systems to keep everything going, so puts her heart and soul into the ship and won't have a word said against her. Kaylee is the cohesive force in the crew, balancing the authority figure of Reynolds: she always sees the best in everyone and in every situation, and is the first to comfort crew-mates in distress, or to try to resolve conflict between them. Consequently, she can get very hurt if anyone says anything to denigrate her (or Serenity). Staite is well cast for this character, having an open, friendly face, quick to smile, and is very convincing as this likeable girl. She puts in a tremendous performance, and you immediately warm to her - I mean immediately, as in: within the first half hour of the first show; so you are very shocked and dismayed when she is shot and critically injured. The way the character has chalked her name hippie-style, surrounded by flowers, on the door of her quarters says so muh about her immediately. It's a very clever device, not only adding to the characterisation, but the contrast between the coloured chalk and the grey metallic door it adorns also says so much about the crews' lives, making the best of what they've got, and making what they've got all theirs.
Some clever techniques are used to make you feel in the "now" of the show. One of these is language and culture. The premise of the society at this future time is that two dominant cultures pushed out into space: Eastern/Chinese, and Western/American, so everyone speaks Mandarin as well as English. The crew will often drop into Mandarin, particularly to vent anger at, or frustration with, another character or the situation. The cast had to learn how to pronounce the Mandarin lines properly, so the feeling of it being real is maintained. Most of the lines said in Mandarin are ones that it wouldn't matter if the viewer didn't understand, and it also gave them a way of getting a few choice obscenities past the censors. English is spoken with a convincing idiomatic combination of cowboy and neologisms. Sentence structure and phraseology is archaic, with some words being assigned new meanings, such as "shiny" being used to mean "great", "fine" or "excellent". For example:
MAL: "Problem?"
KAYLEE: "Nope. No. Everythings shiny."
The slang isn't so dense that you can't make sense of it, but it's different enough from modern English to convince you that you're in a different time.
Novel or uncommon production techniques are also used. At a time before it became de rigeur in such US dramas, single hand-held cameras are used almost throughout. Some of the focusing and framing is deliberately sloppy and amateurish, to make you feel like you are there, looking from person to person, and not absolutely catching every movement or facial expression. You might see someone's expression start to change, just as the camera sweeps away to look at someone else: you don't see the full expression, but you get enough of a glimpse to know what they're thinking. These techniques are even carried over into the CGI shots: you might be looking at a spaceship running at speed in the atmosphere, but it's like an amateur operator trying to follow a Formula 1 car with a pocket video camera - it never quite gets centred, and focus is lost and regained, while the camera zooms in during the shot, as if in an attempt to get detail, but then zooms back out again as if the camera operator has realised that framing and focus would be too hard to maintain at those zoom levels.
I picked up the box set of Firefly after having seen the feature film Serenity when it was aired recently. The programme guide that said it was based on a TV series called Firefly, which has never been on free-to-air TV, only on Sky, so I'd never heard of it. When I saw the reviews on Amazon, and that it was only £12.95-ish for the series, I decided to get it on the off chance. I loved it, as you can see, and like all the other fans who bought the box set, cannot for the life of me fathom why they cancelled it. There were a lot of threads that had been introduced in what should have only been the first series, that never got resolved. Some were tied up in the feature film, but there are so many open stories, many about characters I've not even mentioned in this review, it should have gone on for at least three seasons. Exactly what did the Alliance do to River Tam to turn her into a both a nervous, emotional wreck and a killing machine? Will Kaylee ever get to be with River's brother, Dr. Simon Tam? Will he-man Jayne Cobb ever get over having a girl's name? Who are the men in blue rubber gloves? And will Inara, a professional courtesan and Companion, ever admit her love for Mal Reynolds? If the TV series is ever picked up again and continued, will they go with the consequences of the events in the feature film, or will they rewind to the end of the first series? These questions and many more will probably never be answered; and I'll say no more, because that would spoil things if you want to watch these yourself.
24 May, 2011
Graeme's gift to his friends
Last Saturday (21st May) was a day that Denise and I will always remember. Our good friend Graeme celebrated his 60th birthday and a life in music by inviting family and a large number of friends - among whom, I am very pleased to say, we are included - to a music festival a hotel near his home in Fife .
There were 10 acts, starting at about 1.30 in the afternoon with Graeme’s daughter performing with R&B/Funk/Blues band Lights Out By Nine. Sad to say we arrived too late to see that one-and-only performance, as Siobhan only did this gig as a tribute to her dear old dad, being more interested in the technical aspects of stage work than performing live.
There were 10 acts, starting at about 1.30 in the afternoon with Graeme’s daughter performing with R&B/Funk/Blues band Lights Out By Nine. Sad to say we arrived too late to see that one-and-only performance, as Siobhan only did this gig as a tribute to her dear old dad, being more interested in the technical aspects of stage work than performing live.
This was quickly followed by Jane Taylor and Friends. Jane is a good friend of Graeme's family, and a - now well established - folk and country recording artist, having appeared at a load of festivals, including Glastonbury
I just have to mention the setup at this point. The “stage” was really a performance area at one end of the hotel’s function room, but it was fully rigged with a professional PA and mixing desk, and had to be changed between acts. This was professionally and rapidly done in about a tenth the time it takes in purpose built venues, using no less gear and cabling. The only thing that remained on stage throughout the event was a drum-kit and one of the guitar amps. I was very impressed that they managed to turn around 10 acts, incorporating 52 musicians according to Graeme’s head-count, between 1.30 and 11.45; and the longest interval was 15 minutes!
We arrived about half way through the set of the next act. As we arrived, we heard this heavy sounding rock band playing, and thought, OK, so it’s not all going to be folk and country – we’ve got a proper rock band on now. Wonder who they are? As we got a drink we could hear, but not see them, and they were hammering out a tight set of rock, punk and indie numbers. The rhythm section was driving the band on, and the lead guitarist really seemed to know their stuff. The band was fronted by a girl singer, but her voice, while very powerful, sounded odd – a little, y’know, right at the top of the high register? Anyway, we got served and finally manoeuvred into a position where we could see the performance area and were faced with … (dan! dan! daaahh!) a bunch of eleven-year-olds! Our jaws hit the floor, and we looked at each other and just grinned. We’d just seen the future of future of rock ‘n’ roll, and it’s called Loud ‘n’ Proud, a bunch of schoolkids who have been playing together for about 2 years, but who sound as good together as (insert name of a long-established band that isn’t a shambles here). They exuded energy and enthusiasm, tempered with technical excellence and a real stage presence. That little girl fronting the band did everything she should have been doing as the one at the front. She was engaging with the audience, introducing each number with confidence and humour, fading into the back-ground for the soloists’ bits, and generally just owning that stage. If they stay together they are going to be soooo biiigggg!
Next came a folk trio from Devon (they came all the way up for this gig!) called Alan West & Steve Black. Spot the mistake, there? The third guy was the bassist, so he obviously doesn’t count. My bruv Simon (“The Bassist”, a.k.a. “the heart of the band”) should be getting very angry right now. Good act, great songs, and a lot of silly banter and bickering between numbers.
We were told, in our invitations, that the idea of the day was that the guests could come and go, take a break, have a nap and come back later. Is he kidding? We couldn’t tear ourselves away!!
The fifth act (and we are counting) was Dave Arcari. Dave is tall, with very dark short hair and a very dark long narrow beard, going grey at the end. He was wearing a faux cowboy Ramones shirt (black with white detailing and pocket flaps), a pair of black jeans, and a pair of very scruffy black Doc Martin’s. He was holding a very shiny chrome National Steel guitar, but he had a spare black one on a stand behind him. Got the picture? We’re talking monochrome here. Now, describing the man was quite easy, but describing his act is more … problematic. He’s definitely an after-the-watershed act normally, but manfully toned it down for the mixed audience. Imagine a cross between Pete Townsend (windmilling arms, running around the stage), Sid Vicious (crouching over the microphone, rolling his eyes up in his head) and Johnny Cash (the man in black). Now imagine him playing delta-blues slide guitar (remember the National Steel?) in the style described above, covering numbers by Robert Johnson, Muddy Waters, Howlin’ Wolf numbers et. al., all in double time, in a roaring, growling voice. Close your eyes, though, and there was a lot of control and skill in the guitar playing, especially given his on-stage gyrations. Definitely a … unique act, and a grin a minute.
So the sixth act was a large outfit called Big River
The seventh act were a very local act called The Complainers from Charlestown
Number eight now (this is starting so read like a Desert Island Discs script), and my highlight of the day, Cousti. Don’t ask me where the name comes from: try looking on the band’s website www.cousti.com. The musical style is definitely Americana Folk-Rock, with close harmonies and nice acoustic and electric guitar riffs (think, Eagles). Oh, I just noticed, “Cousti” is a bit like “acoustic” isn’t it? I wonder if that’s it? Anyway, their website also has some samples from their albums to give you an idea of the sound, which is so polished on stage as to be indistinguishable from a studio set. The nearest British band I can think of is Stackridge, but more American and less whimsical than them, but the sound is quite similar in some ways. I just sank into the rich, velvety, intertwining strings sound and was well away.
Old favourite of ours, singer-songwriter Alex Cornish and his band, was next up. He was one of Jane Taylor’s “& Friends” earlier in the day, so he was having a long wait for a drink. He’s another one who has appeared at the Musistadl on his own and with Jane Taylor, and his album Until The Traffic Stops is one that can, and should, be listened to again and again. He is a highly accomplished acoustic guitarist, and his intricate pick-work adds so much atmosphere and texture to his lyrics. His unique style was very much appreciated by the audience, who wouldn’t let him off without an encore. I like Alex’s music very much, and was glad to hear him live again, this time with his excellent band (he was solo at Graeme’s Living Room Recordings sessions). His new album No Shore is out on June 13th.
The final spot of the night saw the return of Lights Out By Nine, on their own ticket this time. I’ve seen them elsewhere, providing the entertainment at a corporate Christmas party, on what, it has to be said, was a much larger stage. On that occasion, everybody was up and dancing, including me! This is a very polished band, and a great finale to the day. I love a band with a horn section, just pinning everything down, and pinning back your lug’oles. We were sitting right the front, so didn’t really need the PA to get the full force of the sax, trumpet and trombone. There are LOTS of YouTube clips of this band, some better than others, and they’ve been recording for a few years now, so it’d be easy to find out what they sound like. They really are a good old fashioned jumping, bopping, funkin’ R&B band. I thought at one point they were going to go into a Average White Band number, so you can see why they were a perfect fit to support AWB on tour this year.
10 May, 2011
Denise's first standard-distance Triathlon
At the end, she didn't seem, to me, to be much more shattered than after her normal sprint events; and her time was within what she'd said beforehand that she'd be satisfied with.
I'm hugely proud of te way she stepped up to the greater distances; and she was justifiably pleased with herself and looking forward to the next one.
27 March, 2011
Golf again
It was a beautiful day on Friday, and I was fortunate enough to be out on the golf course with Shelagh from next door. No need for jackets, or even jumpers. Shelagh gave me some good tips, and I managed to complete 10 holes before needing to head back to the clubhouse. As usual I tracked myself with a GPS app I've got on my phone: I walked just over four miles over the hills and dips. I even hit a few decent shots. All very satisfactory!
25 February, 2011
Govt Report into Prosthetics Services in UK
Contributors to the UK Limb Loss Information Centre Forum have been asked to contribute to the government's investigation into how good (or otherwise) prosthetics services are in the UK, and as one of these, I've been asked to take part. We are writing up our experiences and sending them, via one of our co-contributors, to David Bickers, chairman of the Douglas Bader Foundation, who will be compiling them to send to the review team.
David Cameron has given a commitment that military personnel returning with injuries will get a "first class service" for rehabilitation. Servicemen and servicewomen returning from the warzones with amputations currently get this first class service from Headley Court Militery Hospital near Epsom, or at the Royal Centre for Defence Medicine at the Queen Elizabeth Hospital in Birmingham; and because this is what we (and the MPs) always see on the telly, it has been assumed that this is the level of service they will get when they return to civvy street. Unfortunately, this is not the case, and it is because concerns have been voiced about this that Dr Andrew Murrison MP has been asked to carry out a review, to find out what level of service will be available to ex-service personnel when they have to rely on the civilian system.
He's going to get a shock. As usual, it's a postcode lottery, a.k.a., "services commensurate with the needs of the local community". In other words, commensurate with the amount of money the local Health Service Trusts are prepared to spend. In some areas amputees are not offered any prosthetic service at all, but have to live in a wheelchair and on crutches, with few or no adaptations in their homes - they're basically sent home and told to get on with it. One guy on the forum doesn't even have a wheelchair to go home in! He's going to have to wait until he gets his first appointment at his limb-fitting centre.
I know from reading the LLIC Forum, that I was very lucky with the service I received from the Astley Ainslie hospital, which is second to none in the civilian service. I had very few bad things to say, so couldn't really support the thesis that services are really bad; but my contribution will serve to point out the differences from one region to the next. I didn't have access to the very expensive prosthetics given to the soldier amputees, but within the civilian service, there were very few limits as to what I could have.
Dr Murrison will be reporting to the Prime Minister after Easter, and it's a great opportunity to put forward our case for bringing services in the poorly performing regions up to some kind of reasonable standard. A similar review was carried out for psychiatric care, and improvements were made in that area, so there's no reason why the same shouldn't happen in prosthetics.
It's a shame, though, that nobody thought it was worth reviewing this area of care until we had injured military personnel returning home. This review should have been carried out years ago, for the unfortunate civilians who have had to live in misery, trapped and immobile.
David Cameron has given a commitment that military personnel returning with injuries will get a "first class service" for rehabilitation. Servicemen and servicewomen returning from the warzones with amputations currently get this first class service from Headley Court Militery Hospital near Epsom, or at the Royal Centre for Defence Medicine at the Queen Elizabeth Hospital in Birmingham; and because this is what we (and the MPs) always see on the telly, it has been assumed that this is the level of service they will get when they return to civvy street. Unfortunately, this is not the case, and it is because concerns have been voiced about this that Dr Andrew Murrison MP has been asked to carry out a review, to find out what level of service will be available to ex-service personnel when they have to rely on the civilian system.
He's going to get a shock. As usual, it's a postcode lottery, a.k.a., "services commensurate with the needs of the local community". In other words, commensurate with the amount of money the local Health Service Trusts are prepared to spend. In some areas amputees are not offered any prosthetic service at all, but have to live in a wheelchair and on crutches, with few or no adaptations in their homes - they're basically sent home and told to get on with it. One guy on the forum doesn't even have a wheelchair to go home in! He's going to have to wait until he gets his first appointment at his limb-fitting centre.
I know from reading the LLIC Forum, that I was very lucky with the service I received from the Astley Ainslie hospital, which is second to none in the civilian service. I had very few bad things to say, so couldn't really support the thesis that services are really bad; but my contribution will serve to point out the differences from one region to the next. I didn't have access to the very expensive prosthetics given to the soldier amputees, but within the civilian service, there were very few limits as to what I could have.
Dr Murrison will be reporting to the Prime Minister after Easter, and it's a great opportunity to put forward our case for bringing services in the poorly performing regions up to some kind of reasonable standard. A similar review was carried out for psychiatric care, and improvements were made in that area, so there's no reason why the same shouldn't happen in prosthetics.
It's a shame, though, that nobody thought it was worth reviewing this area of care until we had injured military personnel returning home. This review should have been carried out years ago, for the unfortunate civilians who have had to live in misery, trapped and immobile.
21 February, 2011
Blue Disabled Parking Badges - Limited to 'Suitable Cars'?!
The following is reproduced from a post of mine on the UK Limb Loss Information Centre Forum
I was very angered by a response on Radio 4's You And Yours programme the other day. They were talking about rationalising the issue and control of blue disabled parking badges, which I obviously wholeheartedly endorse. One caller, however, commented that he had seen a Porsche Boxter at the supermarket, parked in a disabled parking space and displaying a blue badge. Their immediate response that this was 'obviously fraudulent use' of the badge, because 'only a young, able-bodied person could get in and out of such a car'.
Erm ... three things:
Now, all the acting up is a bit of mischief making, and probably not the most supportive of our cause, but if I can manage with a sports-car, why shouldn't I? Christ knows our lives are enough of a struggle without denying ourselves a little self-indulgence now and then. I feel guilty about the MX-5, but I'm not sure that I should. Are we not entitled? Should we be restricted to sensible MPVs and Nissan Notes? (rant, rant)
Actually, and this is my main argument, I had to use a disabled parking space in the sensible hatch-backed saloon car I had previously. I still had to swing the door fully open to swing my leg past the door frame, so needed the extra space the disabled parking slot affords. It's got nothing to do with the car I'm driving. The need is the same!
I do sometimes feel a little guily using disabled parking slots. If there's only one space left, and someone else is pulling up in a big MPV with a wheelchair in it, I'm a good lad, and figure their need is probably greater so I let them have it, and try to sort myself out elsewhere in the carpark. In such cases, I can get out of my car, and back in again, but it's a real struggle. For a wheelchair user on their own, the disabled parking slot is essential, whereas in my case it's just a tremendous help. Should I be feeling all this guilt?
I was very angered by a response on Radio 4's You And Yours programme the other day. They were talking about rationalising the issue and control of blue disabled parking badges, which I obviously wholeheartedly endorse. One caller, however, commented that he had seen a Porsche Boxter at the supermarket, parked in a disabled parking space and displaying a blue badge. Their immediate response that this was 'obviously fraudulent use' of the badge, because 'only a young, able-bodied person could get in and out of such a car'.
Erm ... three things:
- 'disabled' does not always mean 'old';
- 'old' does not automatically mean completely helpless, and
- 'disabled' mean necessarily completely helpless either.
Now, all the acting up is a bit of mischief making, and probably not the most supportive of our cause, but if I can manage with a sports-car, why shouldn't I? Christ knows our lives are enough of a struggle without denying ourselves a little self-indulgence now and then. I feel guilty about the MX-5, but I'm not sure that I should. Are we not entitled? Should we be restricted to sensible MPVs and Nissan Notes? (rant, rant)
Actually, and this is my main argument, I had to use a disabled parking space in the sensible hatch-backed saloon car I had previously. I still had to swing the door fully open to swing my leg past the door frame, so needed the extra space the disabled parking slot affords. It's got nothing to do with the car I'm driving. The need is the same!
I do sometimes feel a little guily using disabled parking slots. If there's only one space left, and someone else is pulling up in a big MPV with a wheelchair in it, I'm a good lad, and figure their need is probably greater so I let them have it, and try to sort myself out elsewhere in the carpark. In such cases, I can get out of my car, and back in again, but it's a real struggle. For a wheelchair user on their own, the disabled parking slot is essential, whereas in my case it's just a tremendous help. Should I be feeling all this guilt?
16 February, 2011
Stay
I'm always behind everybody else when it comes to seeing films, since I don't have Sky, and don't go to the pictures (only for films that really need to be seen on the big screen) or buy DVDs very often, so when I do talk about a film, it's because it's been on the telly, and everyone else says "That? I saw that YEARS ago!" I am not bothered about seeing films as soon as I can after they come out, but I do enjoy watching them at home when I get the chance.
Anyway, Stay is one I'd recommended if you've not seen it already.
03 February, 2011
All quiet ...
It's been a pretty uneventful time since my last post, but there have been a couple of developments.
Firstly, Denise's mum put me in touch with a chap that helps run a day centre for oldies in nearby Whitburn to see if I could help them with any voluntary work. I was a little alarmed at first, when I looked the place up, it seems that it's for people suffering with dementia and depression - just what I need ... not! Turns out that there is also a drop-in facility, and it is in this area that they were looking for help, particularly in basic computer training and assistance. I went along for the first time a couple of weeks ago, and was able to make quite a contribution. There were three people needing help, so it was a little like spinning plates; getting one started with something, then the next one, then going back to the first one again because they'd got stuck, etc., etc.
This week there were five of them! Still, it's not stressful - they're very patient with there only being one of me there. I was put in a bit of an ethical dilemma though, as one of the guys wanted to download movies from a torrent site and burn them to DVD. He acknowledges that it's illegal, but I put it to him that it would probably be a lot less effort to buy the DVDs from Play.com or some such. The other thing is that he's got a ripped off copy of the DVD burning software, which I think has expired and locked him out. Tried to convince him that he should get a legit copy of the software at least, which you can pick up quite cheap from the aforementioned retailer. Anyway, it's very difficult to help someone when the problem is on their home computer. I'm not doing home visits, so he'll have to figure some of this out for himself! The local council are doing beginners' courses to tie in with the last government's programme of getting older people on the net, but they're full, so I'm getting some of the fallout. I'm telling them that I'm not doing a course as I'm not qualified, and it's ages since I did that sort of thing; I'll help them out with specific tasks, though.
The other thing is that I now have Skype for my desktop. I got a very good little webcam with a microphone for less than £10! I saw some for up to £175 that didn't seem to have much more in the way of features except auto-focus and really high resolution HD imaging. As I'm only going to be using the 'cam for Skype, there's no point in having a high resolution one because that would generate too much data to be useful over a live video link. I think Skype only transmits at 640 x 480 screen resolution anyway: there's certainly no chance of using HD levels of video clarity. If you have cable broadband you might be able to justify it once Skype starts its HD service, but that's still apparently a long way off.
My cam's focus is set on infinite, and everything down to a few centimetres away is perfectly sharp anyway, and the picture and sound is more than good enough for my purposes
12 January, 2011
Local govt: clever or sinister?
Ran out of milk, so I had to bite the bullet today and go shopping. There had been a partial thaw followed by a freeze last night so the path was slushy in some parts but covered in uneven slick ice in others. I slipped and nearly fell twice, so I decided to pop into the council office, which is very near the supermarket, and (politely) give then some grief.
About half an hour or so after I got back from my shopping, I got an e-mail from them to confirm they'd logged my enquiry, and that they'd passed it on to the roads operations dept. for evaluation. The spooky thing is, I didn't give them my email address! OK, they did have my name and address, and I have contacted them by email before, but who would have credited them with joining the two events up and doing something useful with the result? Would never have happened in my days of working for a council. IT systems that work efficiently! What a wonderful world we live in, eh? ;-)
About half an hour or so after I got back from my shopping, I got an e-mail from them to confirm they'd logged my enquiry, and that they'd passed it on to the roads operations dept. for evaluation. The spooky thing is, I didn't give them my email address! OK, they did have my name and address, and I have contacted them by email before, but who would have credited them with joining the two events up and doing something useful with the result? Would never have happened in my days of working for a council. IT systems that work efficiently! What a wonderful world we live in, eh? ;-)
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