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‘The Reputation Game’ You’ll be engrossed for days and changed forever
The Reputation Game is a compelling read that has you nodding along in agreement, turning the page for another insight and then pausing to take in the academic research. Written by a former Financial Times journalist and PR guru David Waller and a Business School academic Rupert Younger, the blend of the journalism and the academic gives you two books beautifully blended into one.
I find you become engrossed for hours at time – it has that ‘can’t put it down’ quality, but also as it skips through so many examples and references that any of these can form a satisfying quick read making it good not only for a commute, but to flick through between stops on the underground.
I know a dozen people who should have a copy, one who probably wishes he had written it. On the one hand I can send them this review, on the other I might just buy them copies and tell them why they should read it and how it well both be a pleasure to read and of value to them either because they have a ‘reputation’ to maintain, build or rejuvenate, or because they are in the business of doing this for others, both individuals and organisations.
Amongst many, often interviewed for the book, in relation to ‘reputation’, you will gain insights into:
Roman Abramovich
Lance Armstrong
Abu Omar al-Baghdadi
Michel Barnier
David and Victoria Beckham
Benedict XVI aka the Pope
Jeff Bezos
Tony Blair
Sepp Blatter
Usain Bolt
Susan Boyle
Richard Branson aka Sir Richard
Gordon Brown
Warren Buffett
George W Bush
Caligula aka The Emperor
David Cameron
Jimmy Carter
Charles Windsor aka the Prince of Wales
Winston Churchill
Nick Clegg
Bill and Hillary Clinton
Jeremy Corbyn
Robert Downey Jnr
James Dyson aka Sir James
Elizabeth Windsor aka The Queen
Roger Federer
Niall Ferguson
Margaret Hodge
Steve Jobs
Boris Johnson
Tom Jones aka Sir Tom
Bernie Madoff – interviewed in person by the authors.
Theresa May
Max Mosley
Horatio Nelson aka Admiral Lord
Barack Obama aka President
John Profumo
Vladimir Putin aka President
Cecil Rhodes
Saddam Hussein
Maria Sharapova
Joseph Stalin
Ivan the Terrible
Margaret Thatcher
Donald Trump
Mark Zuckerberg
And when it comes to business and organisational reputation you will learn about:
Adidas
Amnesty International
Ben & Jerry’s Ice Cream
The Bhopal Disaster
The British Army
Buzzfeed
Cazenove
The Catholic Church
CBS
BP
The Deepwater Horizon Crisis
Domino’s Pizza
The EU
Exxon
FIFA
GlaxoSmithKline
Goldman Sachs
Innocent Drinks
IS
The London School of Economics
Nestlé
Philip Morris International
Rolls-Royce
Rowntree
RBS
Unilver
Union Carbide
United Airlines
VW
Wonga
Zimbabwe
And in doing so you will learn about:
Capability reputation and character reputation and a whole lot more. Some of which will make you smile, much of which you can apply.
Peace in pieces
Fig. 1. Poster commemorating the bombing of Hiroshima for Japan, 1985. Ivan Chermayeff, de la warr pavilion, Bexhill.
Trip FIVE to this exhibition, this time with my brother-in-law, is imminent. What I adore about exhibitions here is that they are ‘bitesize’ and smart; they are a perfect ‘mind burst’. They are the ideal repeat show too as with each visit you see more, and see differently … and are influenced of course by the person you are with.
The right image says what each viewer sees in it.
This idea naturally translates into any and every conflict we see today: MH17, fractured and not yet stuck together, the Middle East utterly smashed into dust – I have this visual in my head of Hanukkah Lamp, the smoke from which forms a fractured map of Israel and Palestine.
From E-Learning IV |
From a learning point of view to start with a poster such as this is to follow Robert Gagne theory of learning design; also the natural skill of storytellers and good communications: get their attention.
Don’t make it easy
Fig. 1 Some ideas from the Ivan Chermayeff ‘Cut and Paste’ exhibition at the De La Warr, Bexhill
As photography isn’t allowed instead of moving from the gallery with my iPhone or camera clicking at everything and anything that caught my eye I was obliged to get out a sketch pad. Just as Ivan Chermayeff says in a exhibition video ‘most people don’t know how to see’.
We risk making everything too easy with e-learning: photos, screengrabs, instant research, transcripts of video, video as audio only or highlights or summaries thanks to others.
The above ideas were for:
a) A School of Visual Arts talk he was giving with a colleague
b) Arthritis – with letters torn from a type font catalogue and jumbled around
c) Mother and Child in modern art – a signal Magritte or Matisse like cut out.
What I would have missed entirely, and I do it no justice here, is a collage of tickets and seating allocation to the inauguration of John F Kennedy on the 20th January 1961. (Before my time, I’d been conceived a few weeks before at a New Year’s Eve party. Not even I can remember that far back).
Fig.2 Sketch of an Ivan Chermayeff collage/poster using bits and pieces from attendance at the inaugurations of US President J F Kennedy
Ivan Chermayeff ‘Cut and Paste’ @ the De La Warr, Bexhill.
Fig.1 Ivan Chermeyff – interviewed on his life in design
The pleasure from every exhibition I attend at the De La Warr is that they are modest in scope and ambition, engaging and inspiring without being overwhelming and curated in a way that gives you, other visitors, the art works and other parefenalia ample space.
The centre piece for IVan Chermayeff “Cut and Paste’ is for me the short, professionally executed, warming video biography in which Chermayeff gives a potted history of his life, influences and work; about as much as you’d cover in an episode of ‘Desert Island’ discs, though here, instead of music, you can then wonder off and look at examples of his work, works in progress and playfulness.
No transcript is offered so here are some excerpts and bullet points from mine.
Interviewed on two cameras Ivan Chermayeff waxes lyrical, the chronology from childhood and ealy influences, through art school and his early graphic design business, family and beyond; he’s in his eighties. His father emigrated to the US in the 1930s or 1940s I guess from the UK.
“For me inspiration is everywhere; I find it everywhere. I make a lot of visual connections by keeping my eyes and mind open to everything I see. It leads a lot into my design”.
His father architect as the biggest inspiration
“No matter what garbage at the age four, or making messes, he would always say that it was really great. And that was true of everything I did, no matter what. Instead of stopping you doing what you were doing because you wanted to make your old manhappy”.
His father he describes as both an educator and a self-taught architect.
Free spirited and supported. Moved everywhere.
Went to a lot of schools. 24. Andover (four years).
Allowed to do it in a free and open way.
Got to Harvard
Took any classes across the university.
Then
Design School, Chicago
Like a workshop of a school
Experimenting with design problems.
I then spent seven years recovering from my education
Trying to define what design meant
Design is all about seeing
You’ve got to learn how to see
You’ve got to make connections that are not necessarily obvious
“Be interested in training yourself to look around, to notice connections, such as a small colour connection, or the tinniest thing that brings two things together”.
Everybody who I find inspiring are artists who make great connections.
Iko Tannaka – Japanese Designer
We just liked what the other one was doing
Nice to have an inward connection with someone
Recognise that it is worth looking at.
I can’t sit still, so I’m always making things, so I make collages. I just prefer scissors to brushes.
Paul And
Don’t try to be original, just try to be good.
I never do anything that I didm’ think was damned good.
Work Ethic
Completely open understanding that we can contribute to what the other is doing at his desk.
Half the time a company doesn’t tell you what it wants accurately, you have to redefine what it is they want … and turn it into reality.
it can be as simple as finding a relationship between two letters in the alphabet or typeface that are original or say something.
Graphic design is all about audience after all … convince your client … they don’t tell you adequately what it is all about. If they were capable of do that they’d do it all themselves.
MOBIL
Held up extremely well
Business confirmation that we did a good job.
“I have intention of retiring ever”.
The video was created and produced by executive Producers
Ignacious Oearmun
Evee Kornblum
and directed by
Rick Boyko
Open Learning with the Open University – a modus operandi in the 21st century?
Fig.1 Posing for a scamp at the School of Communication Arts, 1987
H818 Activity 2.1
I will only publish in open access journals.
I’m not a professional academic. Should I publish then I imagine the calibre of the journal will count for something. As a professional writer (copy, scripts, speeches), with exception of blogging I am used to being paid for my words.
I will share all learning material that I create and own openly online.
From the moment I started to blog I have been part of self-help groups ‘publishing’ openly on everything from blogging to creative writing, swimming teaching and coaching, social media, the First World War and e-learning. My goal over the next year or so is to produce under a Creative Commons module a series of 30 to 1500+ micro- OERs, one minute pieces with Q&A attached, as what Chris Pegler terms ‘Lego Techno Bricks’.
I maintain an online social media identity as a core part of my professional identity.
It lacks professionalism as I don’t edit it or write to a definable audience but I have a substantial e-learning blog that largely, though not exclusively, draws on my MA ODE experiences (in fact I started on the MA ODL in 2001 and blogged on that too). I use Google+, Linkedin and Twitter haphazardly by pushing blog content to actual and potential commentators, participants and followers.
I take a pragmatic approach and release some resources openly if it’s not too much extra work.
I come from corporate communications where created content is closed to employees.
I have concerns about intellectual property and releasing my content openly.
Actual words of fiction I write is my copyright, Factual I care less about. Whilst a blog is largely like a recorded conversation, a formal paper would need to be recognised in the appropriate way.
I will share all material that I create and own openly online, as soon as I create it.
No. I cannot hope to earn a living or sustain my interests if I cannot both charge for my time and my output.
31 Years Ago – Oxford 1982 on video
Fig.1. The author/auteur with his Sony Betamax out. My study, Staircase 11, Balliol College, Trinity Term 1982
31 years ago I was an undergraduate at Oxford University.
In my second year, eager to develop my interest in TV production I managed to get myself a Sony Betamax Camera. It was semi-portable – a backpack and cable. I’ve had the 20 tapes digitized. The pleasure for me and for those featured will be to see themselves and their friends in a way that will have quite escaped them. You are faced with the spatial disjointedness of seeing and hearing yourself as others presumably saw you and the temporal disjointedness of seeing a 19 or 20 year old from the perspective of a fifty-something. There’s some 17 hours of content. I got through it at x18 in a few hours yesterday afternoon.
Fig.2. Rehearsing in the Oxford University Drama Society (OUDS) production of Taming of the Shrew. I played Baptista.
These are the obvious observations:
- How young we looked. Look at the fashion (hair, clothes) and the cars.
- Did I really look like and talk like that?
- Even an idiot could see that I couldn’t grow a beard, so why did I try!
- Why did I buy that shirt?
The more nuanced thoughts and realisations are:
Fig.3. The Oxford Lightweights Crew, Henley. My purpose had been to video them in training.
How amazing it is that watching a blurry clip of a team of rowers an image no bigger than a pea tells me quite quickly that I know one of these people, a few moments more and I have their name. The ability of the human brain to identify faces is remarkable. (The above is far closer and clearer than the silhouette tat initially gave me the location, purpose and person).
There are events I covered, even moments where I appear, that I simply cannot recollect at all.
Being behind the camera can do this … you’re cut-off from the moment slightly in any case as you should be tending to the camera (on a tripod), lighting and sound. There’s a good deal that I didn’t cover – the camera often went out with others.
Then I see a person, and it does ‘come flooding back’ – this personal emotional tie to a person or event is vital.
Just a few seconds of a person and I feel warmth and longing for a lost love. I know the name, when we met and the times we spent together. But what unintended hurt might I cause even these decades later? Or others who had no inkling of my interest? Or is this just part of being who and what we are at that age? And we have, of course, move on … so far beyond that the past really is a different country. And we are not those people who populated it.
Getting myself back into the head of a 20 year old feels like a kind of lobotomy – it had might as well empty my head of everything that has happened since. The perspective makes you realise just how naive and inexperienced you are even at that age.
There are inevitable technical issues:
- The tapes, stored for three decades, are damaged.
- The lighting, anything in doors or when it was dreary, is atrocious.
- The sound, through the directional mic on the camera is pretty dreadful too.
Fig. 4. In conversation somewhere, with someone – but I don’t know with whom, and can’t even tell what was on our minds.
What next?
Just a screen grab shared with a handful of the participants has produced glee. It is a reminder of how friendships are formed, a bond and trust that slips into place between strangers after they’ve got to know each other and then spend more time together doing things and making fond memories. This is its value if nothing else. None of the video will go online. I’m even reluctant at this stage to store content online and offer a password to people. I know that it is too easy for content to ‘leak’ which at this stage I feel is too unfair to those concerned. I’ll start just by sharing the moments with them.
- How much do we need or want to remember?
- Doesn’t the brain, for those of us who are and remain physically and mentally well, do a perfectly adequate job of forgetting?
- Is it not better to see the past through the prism of narrative, anecdotes and recollections. To feel, either good or bad about people and moments rather than getting this ‘in your face’ absolute?
- Twice I spotted people who were lovers.
- Twice I spotted people I ‘fancied’.
Is it not healthier and correct to reinforce my marriage of twenty years with memories of equal strength of her and our children?
Wherein a wedding and some holiday video footage may have served a purpose. On graduation I never, or very rarely, have ‘gathered’ amateur footage like this. Perhaps understandably I want to work with a team of professional broadcasters and filmmakers.
There are fictionalised stories I want to tell about this age group.
This content is an invaluable record and reminder of all that we are at that age. It is also noticeable, even in the streets of Oxford on May Morning, how the student population dominate, while of course cast and audiences of students productions are for the most part students too. For a period, or for some weeks, you live away from your family, without a family – most people around you are your age and possibly, its weakness in the 1980s, amongst those from a white caucasian middle class background. This too would reflect the bias of whoever was behind the camera, and the events covered.
Fig.5. Oxford Theatre Group (OTG) rehearsals for the Oxford Review. I have several hours of footage of setting up, the hall and rehearsals for three out of the five productions: Titus Alone, Edward II and the Review.
Best of all, and the fullest record, is the Oxford Theatre Group on the Edinburgh Fringe in August and early September 1982. As well as our edited highlights from this, behind the scenes, rehearsals and productions, there are several hours of ‘rushes’. There is also coverage of an Eight’s Week (College Rowing Event), the Oxford & Cambridge Ski Trip to Wengen, one May Morning (May 1st, 1982 I presume) and Lightweights and Woman’s Eights at Henley … and some ‘Student News’ from a single edition of ‘Oxford Television News’. I didn’t need three tapes of rushes for an English Language School for Japanese Students.
In a world where such images are so easily gathered are we even more inclined to bin or wipe them?
Do most young people live in a world of image overload where the recording and broadcast of content is instantaneous so little thought needs to be given to what is recorded, how it is stored, how it is shared and who sees it? In thirty years time will my children be able to look at content the way I can?
At my mother’s funeral my God Father presented me with a couple of DVDs containing digitized 16mm footage of my mothers age 17 from the late 1940s. Would this have lasted sixty years on tape? In sixty years time will people want to or need to see clips of themselves in their youth? Isn’t it too easy, even expected to dip back and forth through your timeline?
Fig. 6 I know the people in the line and the person who recorded the footage – rain damage put the camera out of action for several months, perhaps worth it for several minutes of frivolity during May Day celebrations, May 1st 1983 (or 82?)
How will people change if they cannot forget and are not allowed to forget?
I’m sure we’ll become more accepting of the human condition – that politicians who ‘had a life’ may be preferred over those who did not? That we will be accepting of a good deal more of what we do and how we were and how we change, that we have different personas in different settings and at different times.
Fig. 7 My study – second year, a study with separate bedroom. In College. The key to this era, should I wish to explore it, is the diary on the shelf in the background. Whilst the video record is selective and patchy, the daily journal is complete.
What though the value of keeping a diary? I understand the academic value of reflection, but a record of what you did, what you read and maybe who you saw and most especially what you thought back then? Digitised, a process I started patchily two decades ago, others insights – some best left in the past. Devices that capture your day, sensecams and wearable devices … how much more are these a record if the data they provide can be analysed for you or does a memory need and deserve the filter and effort of being recorded as you experienced and felt it?
Several edits into the above I realise I have failed to sate the obvious – after a part-time Masters Degree in Distance and E-Learning (MAODE) I am now applying to undertake doctoral research. The youth of these images didn’t have postgraduate study on his mind largely because he didn’t understand who he was – deeply curious about people and learning. If an education is wasted on youth, then I’d say this is even more the case with postgraduate study.
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- Cambridge and Oxford places still dominated by south-east applicants (guardian.co.uk)
- Tech That Never Made It (jacamoblog.co.uk)
- Did You Have Betamax? (newgrandmas.com)
The communismization of knowledge and Open Educational Resources
Fig.1. I like spirals. Thirty years ago this was just a photo. For me it is an expression of what learning looks like. (I think this is St.John’s College, Boat House – or is it Balliol?)
At the base are the undergraduates, the first years, as you climb the steps you find the second and third years, then the middle common room the MA and D.Phil students while at the top are the lecturers, senior lecturers and professors.
And when you die they raise a flag.
In 1983 (or was in 1982?) this was the epitome of ‘closed learning’ – the Oxford College boat house.
Not so much ‘dreaming spires’ as ‘dreaming spirals’.
- It was a privilege, but like many of these I’ve been either in denial or trying to shake them off for the best part of 25 years.
- ‘Je suis comme je suis, je suis faite comme ca’ (Jacques Prevert)
- And there’s no going back.
I was up at 4.03am. Back to bed at 6.15am. Then up again 20 minutes ago.
- My body was tired, my head continued to buzz.
Regarding ‘Open Learn’ what’s all this fretting about process for?
Have we all forgotten the purpose of research????
Not ‘how?’ but ‘why?’
Why? Why? Why?
We are seeking answers, not trying to construct a bridge across the English Channel with chopsticks and bendy-straws.
Not to get the process right, but to get answers to problems, to find better ways, to understand and share what is going on so that we can act, or not act on it?
Sometimes I read an academic paper and it is all about the process.
Too often I write an assignment and it has to be written to be marked – not to generate ideas. In fact, my finest few hours, a total End of Module Assignment rewrite was a disaster for a set of marks but is my theory and philosophy of what learning is. It was the culmination of months of work, years even. Expressed somewhere like the School of Communication Arts I would have had the attention of eyes and ears.
Fig.2. Submitted as the hypothesis for an End of Module Assignment the grade was catastrophic – it is of the module, but the examiners didn’t have a grid filled with the appropriate crumbs that would permit them to ‘tick the boxes’. (I did submit more than the image, 6ft high and drawn on a sheet of backing wallpaper).
Creativity doesn’t fair well in a process driven system, either in research or in marking assignments.
This isn’t an excuse regarding a grade or the need and value of process drive, guideline controlled, parameter set research, but rather a cry for some ‘free thinking’ the ‘parcours’ of mental agility and expression.
Fig.3 The cliffs below Roche de Mio, La Plagne
There is value in going off piste.
It isn’t even the democratisation of education and knowledge either, it is the Tim Berners-Lee rather than the Google approach to knowledge – i.e. give it away for free.
It is ‘communismization’ – which is a word, however horrible it sounds, I just looked it up.
This moves me onto dwelling on Creative Commons.
If the idea of openness is to give it away for free what is the reward for the author? Recognition as the author. However, I get the feeling that unless it is published some readers think they can help themselves to the ideas and words of others and claim them as their own.
There will always be theft, but as children aren’t we told that for someone to copy your ideas is a compliment?
We need to behave like the children we still are.
But does even that matter in an open society – theft of intellectual property I mean?
If the spreading of the word is all important should any of us give a fig?
If we have a roof over our heads, food and water, electricity to charge the iPad, the BBC … a health service like the NHS what more can we want?
- Better schools.
- Better roads.
- Better weather.
‘Peace on earth and good will to humankind’.
A better word needs to be found for what is meant by ‘communismization’.
Is is just ‘communization’?
- Is it simply ‘open’?!
- ‘Open’ might do.
- Free
- Open
As the air we breathe …
P.S. I worked the season in Val d’Isere in my gap year and returned a decade later and stayed in La Plagne from December to May researching a book and a couple of documentaries for Oxford Scientific Films. None saw the light of day, though after several weeks thinking about it I came down that cliff face. I made a big mistake by slowing down at the edge and nearly didn’t have enough distance to clear the rocks. I no longer have a death wish. And it wasn’t even fun. It focused the mind though. In fact, the best way to stop yourself thinking about other stuff is to take such risks. Racing Fireballs in the English Channel has its appeal – I have a tendency to end up in the spinnaker or under the hull though.
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- Tim Berners-Lee: The Web needs to stay open, and Gopher’s still not cool. (boingboing.net)
- Tim Berners-Lee: ‘You can do anything with a computer that you can imagine’ (venturebeat.com)
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- What I wish Tim Berners-Lee understood about DRM (guardian.co.uk)
Where do I stand academically? Where and what next? And the madness of being.
Masters in Open and Distance Education (MAODE) with the Open University, UK (OU)
H800: Technology-enhanced learning: practices and debates
H807: Innovations in eLearning – Learning outcomes
H810: Accessible online learning: supporting disabled students
B822: Creativity, Innovation and Change
H808: The e-learning professional
This completes the Masters Degree. I graduate on Saturday 27th April 2013
Currently (March 2013) I am taking H809 as a bridge towards doctoral research or professional consultancy. Complete in June 2013.
H809 Practice-based research in educational technology
I joined the #H817open MOOC for one component of this module. I will register for 2014
H817: Openness and innovation in e-learning.
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Learning Design in three stages – the good, the bad and the ugly
I love the beauty of Jenga.
Simplicity has a purity about it. Don’t knock it. Behind its functionality and its look and feel there will be some hard thinking. Keep it simple, stupid (K.I.S.S) may be a training cliche but there is considerable truth in it.
I’ve now had three years here at the OU and here on this Student Blog platform (short of five days). I’ve been working on my ideas regarding learning and e-learning design in particular.
Courtesy of THE OU hosted OLDs MOOC 2013 (Online Learning Design – Massive Open Online Course)
I’m experiencing what feels like undertaking an 8 week written examination – the contents of my brain are being pushed through the cookie cutter.
And out comes this:
The Good, the Bad and the Ugly.
(Of course I had shut down for the gadgets for the day and was brushing my teeth when this came to me).
The Good
Learning events or activities, moments that make the participant smile, think, reflect, nod in agreement, understand, be informed and generally feel good about the world and this particular learning experience. Hit them with some of this, as the say so succinctly across the Atlantic – at the ‘get go’.
The Bad
The effort required and built into the learning. OK, we want them to love this too, and you can if you’re ‘in the flow’, have done your work, have wrestled with what you didn’t understand, asked for help, listen to fellow students, gone out of your way to do extra reading and research until you have it, one way or another.
There needs to be assessment.
An assignment is a soft assessment to me – though like everyone I have terrible days when the thing just slips through my fingers like a snowball on the beach. A dissertation or end of module assignment is tougher, but tough and ‘bad’ in a certain way – like commitment to a triathlon. And a good analogy as working on and developing three issues at 2,000 words a pop is about right. And you won’t get far if you leave training to the week before. It’s a slow burn.
The ‘bad’ has to be the written examination.
They have to be hated and feared, and like learning lines for that school play, you have to get it right on the night (or day). And what do you do if you act? You have good lines to learn, you learn and rehearse your lines and you practice, and do a test run or two. The curtains going up is the equivalent of your turning the examination paper over. I feel the fear from a year ago – April 2012. I hadn’t sat a written exam in 30 years. All my undergraduate and school-boy fears came back. I used rusty techniques that had last seen service during my first degree.
Bad is good. You want to do everything not to feel like you are naked on stage – a dream we all have when faced with such an ‘exposing’ test?
The Ugly
Shock ’em. Not scare the witless. Have up your sleeve some smart stuff. Whether an idea or the technology offer a creepy and certainly memorable surprise.
Boring a student into making a fact or issue stick is like throwing mud at a brick wall – it’ll stick, it’ll coagulate and build up, but is easily washed away in a shower and destroyed in a storm.
Use storytelling techniques perhaps, better still, follow the pattern of a ghost story.
Scare them? I’m back on fear I guess.
We humans are fearful of many things and will go out of our way to avoid, run away or confront our fears. As I said, the idea here isn’t to lose your students, but to empathise with them, understand the ugly side of their learning experience then help them confront their worst fears. It is ugly having to tackle the parts of a subject that stink, but inevitably these are the blocks at the base of JENGA.
So can I apply it? And can I go back to bed now?
Which leads me to another theme – we no longer simply bring work home with us, we take it to bed and sleep with it. If this pisses you off then let me introduce you to ‘working with dreams’. If you are prepared to get up for an hour in the dead of night, or can flick on a light without invoking divorce then scribble stuff down to catalyse the thought in the morning. Can work wonders, can produce nonsense, can just be some things you need to put on the supermarket shopping list … or another dream of being naked on the stage, not knowing your lines and needing the lo but all the exits are locked and the orchestra has stopped and you have to say something.
Which, courtesy of the wonders of the mind, has me in the front row of a performance of The Tempest at the University Theatre, Newcastle when I was 13 or 14. Caliban was naked, covered in mud and wearing a prosthetic erect penis.
HORROR!
P.S. And give me 20 minutes searching the Internet and I will be able to name the actor, date the show and possibly even find a picture. Perhaps you’d like to have a go. But before you do so, be very fearful of what the search terms you use might throw up.
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