Monday, December 23, 2013

“I’m accustomed to a smooth ride” by Ali Karim

The title theme of this essay [or digression] comes from the lyrics of the track ‘The Obvious Child’ taken from Paul Simon’s African inspired album ‘The Rhythm of the Saints‘. Its significance will hopefully become apparent if you have the patience to read this [occasionally self-indulgent] essay to its conclusion.

The purposes of this essay?

[a] I find that writing my thoughts down helps align and organise my thinking therefore reduces the burden these thoughts place in my mind, and helps make sense of reality.

[b] Some who have the patience and interests in what a 50 year old businessman, scientist and voracious reader has learned about reality and is still learning – may find some insight, agreement, disagreement within my thought process, to provoke their own thinking, and perhaps make them smile.

[c] I think Walter White [aka Heisenberg] from Breaking Bad summed it up well at the close of the final episode – I did this for me.

I consider my eccentric nature attributable to my voracious reading, listening to music and viewing films that make me “think” and contemplate; as well as related to my childhood, growing up on the grounds of mental institutions due to my father being a psychiatrist [now retired].

Some of my observations and insight may be familiar to some of you who follow my stream of consciousness on Facebook, and also in my book reviewing. Other digressions are new thoughts committed to paper and screen, in an attempt to rationalise them into some form of context.

It’s perhaps best to read this, when you have time, and a glass of Scotch in your hand.

I’m on day 3 of an unprecedented 14 days leave over the Christmas holidays, as my business goes on a winter shutdown. I now have plenty of time to think without distractions. This year the whole family will be spending it at our home in England, and not going to Dublin which is wonderful. I spend so little time at home with the family due to the rigorous demands of business [living during the week in the East Midlands], and what with our two eldest at University – this is a real treat for everyone to be home for Christmas.

I feel my internal energy levels rise as my biological battery recharges, as I take time to explore my thoughts, and re-booting my internal operating system.

As a counterpoint I have a staggering array of books to read, both for pleasure as well as professionally for The Crime Writers Association, being involved as a literary judge. I also have a stack of DVDs to chose from and I may well do some of my own writing.

As I have aged I have reduced patience [or inclination] for ‘general / small talk’, as I have found resonance and solace with Jean-Paul Charles Sartre’s infamous saying ‘Hell is Other People’. I recall as a young student, a tutor once told me that as we traverse the educational process, depending how far we travel, the narrower will be our spectrum of interest. This statement I have found to be true. At 16, in the UK we did ‘O-levels’ for which I studied 9 subjects, then at 18 it was narrowed to 4 [actually 5] for me, Chemistry, Physics, Biology, General Studies and a year of Advanced Mathematics. Then for my Degree it was one subject – Applied Chemistry [combining Organic, Inorganic, Physical, Analytical and Industrial Chemistry]. If I had continued for an MSc or Doctorate, then it would be a tiny aspect of that one subject.

In my twenties and thirties my thinking had been tamed into one that logic and the principles of science were applied to manage my perceptions; influencing my thinking. The result of all this, created or at least shaped the way I viewed the reality that surrounded me.

Now at fifty, an honest assessment of my thinking reveals that the only real interests [and thoughts] I have; ones that I am keen to explore relate to [a] my family [b] trying to understand [and make sense of] the reality around me and how it is constructed and presented [c] reading and writing about crime and thriller novels, and their writers, editors, publishers [d] Chemistry, which is my profession and something that I am good at and [e] my friends, whom I am privileged to have many [all to greater and lesser degrees]. These shape my world view.

So for the next two weeks, without the rigors of managing a complex business in a truly fucked up economy, I am free to devote my time and mind to what I rationalise as the fundamentals that drive my personal biological operating system, ie items [a] to [e]. One issue is that I have narrowed my ‘interest-net’ due to age. I have little time for random interactions with random people, or small-talk, hence I find that the people I want to interact with, share some, many, and in a few cases, all my own thoughts, are on Facebook.

Considering that my interests are now [1] very narrow [2] the people that share some of my interests are scattered around the world and [3] none of us have much free time to interact and [4] I feel I have found my place in the world and have nothing to prove or impress anyone with, nor the requirement for receiving the acceptance or approval that a child craves from his parents or his / her peers  – hence why I have such an attraction to Facebook.

People say Facebook is a real time-suck. So? What else were you planning to do from your own pack of “interests / needs” that make your own internal / biological operating system work? I agree that FB does take up a lot of time, but without it one would never be able to keep track of what, and who we term friends.

Happiness is a curious concept for those who think about it. Happiness is not constant, it waxes and wanes like the tides pulled and pushed by the influence of the moon, ie influenced by the forces of an external source. One of the external sources that influence the shifting of our moods, and therefore our happiness is our family, another are our friends. So for those who are time constrained, with a narrow bandwidth of areas that stimulate, low tolerance for small-talk that is outside our bandwidth of interest [and with that pool of family and friends that are scattered geographically], then Facebook is one small way that can assist in the happiness area.

With two weeks off, at home with my family, my books, films, and no desire to meet people in a random manner [due to a slim chance of meeting anyone with shared interests], I’m reading books, viewing films that stoke and recharge my internal operating system, and of course I’m using FB for keeping in touch with my friends, so I don’t cognitively isolate myself. A number of my FB friends are writers [many physical friends too], and as they often work in isolation, they too use FB as a way of connecting to people with shared interests.


So without further ado, I’d like to put some of my thoughts, my examinations of reality into context like the rhythmic drum beat in Paul Simon’s ‘The Obvious Child’ so that the words ‘I’m accustomed to a smooth ride’ makes some form of sense. The act of committing them to paper or a screen, helps me dissect how my own mind works, and these are observations that have taken decades of experiencing reality to take shape. They also indicate to me how bloody clueless I was when I was younger.

Some people feel age, and all the problems that relate to age are awful. I take the converse view. It is a true privilege to age for two crucial reasons [a] many do not make it to old-age as Reality is random and dangerous, many not living into old age as a result and [b] as we age we see things in a more enlightened manner, because of all the things we’ve observed, the situations we’ve seen, read about, and thanks to the conscious mind’s ability in pattern recognition, we see the world and the traces of evidence that there maybe some form of design. It is debateable if that design is intelligent, one issue being what we define as intelligent is as complex as the reality that surrounds us.

The Line between Bravery and Stupidity is Diffuse

The business I planned in 2002 started trade on the 8th of October 2004. I took great personal risks setting up the business, and I am not being melodramatic in revealing that it nearly cost me my life, such was the financial and professional risk I took on. I have discovered that the line between bravery and stupidity is a diffuse one, and sometimes an element of stupidity is important in creating bravado, something that can assist when the walls are crumbling. It takes sheer bravery and bravado from allowing the implosion of the wall, and therefore the dream from collapsing.

Next year the business I help set-up, and manage will celebrate its tenth anniversary, with a turnover a little below £10M [~$16M]. I now only own just short of 3% of the business, but am glad as being a small shareholder in a profitable, technologically advanced, and growing business [that with my team, I manage] is far, far better than being a big shareholder in a business that is insolvent.

During the darkest days of the set-up, when my back was so close to the wall I felt the brick dust against the back of my neck - with debts mounting up, and my personal liabilities weighing me down like a ball and chain shackled to my ankles – I was in a bad way. If someone had come up to me and said they would take the company over, and release me from my debts [and most crucially] my financial liabilities – but it would cost me my right arm, I’d have replied immediately, and without pause or deliberation saying ‘thank you and pass me the fucking hack-saw’. You see I proved that Fredrich Nietzsche was correct, when he wrote that ‘the thought of suicide gets a man through a difficult night’. The emphasis is on the word – thought, I hasten to add, even if those thoughts were as vivid as the reflection of my face in the mirror.

I have often pondered over the years why I took such a huge and life-changing risk, and I have come up with these key answers.

[A] Despite outwardly stating that I did this to provide long term financial security for my family, as well as illustrating that the son of an immigrant can add benefits to his Country [Great Britain, a place I love] by contributing to the economy and employing people – the truth however was contained in what Heisenberg said when he’d finished his job ‘I did this for me’.

[B] At my age I realised that my greatest enemy is myself. When I planned the start-up, I was fully aware of the adversity and danger that was ahead of me if I were to go into business. The real issue was how would I live with myself if I chose not to take the hard path, because as I aged [and without the benefit of foresight, but coupled to a vivid imagination] I would live the rest of my days in the desolate land of the ‘what if’, knowing I was weak and did not take the chance [aka opportunity] I discovered. This would rot at my soul, because when we ‘imagine the future’, the inherent human condition is for optimism so I would have always believed [rightly] that I could carve a successful business from scribbles on the back of a pack of Marlboro, into reality. That thought could be one that would trigger my demise, and so I thought at the time ‘buckle up, it’s gonna be a rough ride’, and it sure was.

Retaining my sanity in business during the start-up, and then later when the mighty Lehman Brothers fell [starting the ensuing economic turmoil that still echoes around stock markets today], and the usual issues businessmen face in today’s fucked-up economy – is my passion for reading crime thrillers. They not only distract me from my problems, but also have over the years changed my thinking. A love detective fiction has made me adept at problem solving, thinking imaginatively and making me paranoid in identifying the problems [and solutions] cognitively, as well as gaining insight into human nature, as doing business with people is as complex as the motivations of protagonists and antagonists battling between the covers of a crime thriller.

Viewing the world as a giant fish tank

Let me tell you a story of the cod fish. At the turn of the century cod fish were in much demand on the east coast of America. News of this tasty fish spread across the country all the way to the west coast. There was however a problem. How could they get the fish across the country and still keep it fresh. They tried to freeze the fish and send it by rail, the fastest means at the time. When it was prepared it turn out to be very mushy and lacked flavor. Then someone decided to ship the fish live turning railroad cars into huge saltwater aquariums. When the cod fish arrived they were still alive but when they were prepared they were still mushy and tasteless. After studying the cod fish someone discovered that their natural enemy was the catfish. This time when the cod fish were put in the tanks they’d place a few catfish in with them. Those catfish chased the cod fish all the way across the country to the west coast in those giant tanks. This time when they were prepared they were flaky and had the same flavor as they did when they were caught fresh and prepared on the east coast. You see the catfish kept the cod from becoming stale. The catfish kept them fresh, nipping at their heels.

We all have and need catfish in our lives to keep us fresh.

It is up to you to decide who, and what are the Catfish in your own lives as you swim through the giant fish tanks we term reality or existence. At times of stress when you feel the teeth of the Catfish at your heels, it is easy to feel angry at the stress caused by them chasing you continually.

The intelligent will realize that we may not enjoy the company of the Catfish in our lives. Many times you may well consider your loved ones as one of the many irritating Catfish in your lives; our bosses, wives and husbands, our parents, our children and our friends – who make us who we are.

But to remain, agile, fresh and motivated in the areas that are truly important in our lives, like it or not, we should understand the importance of the Catfish that surround us, and what they do for us.

"The trick, William Potter, is not minding it hurts."

I would like to share some thoughts which were prompted when I learned of the passing of the Anglo-Irish actor Peter O’ Toole. This dragged out a distant memory from my childhood; and one that made me think deeply, and one that changed the way I view the professional and personal problems I confront, and overcome.



As a child I watched David Lean’s 1962 film ‘Lawrence of Arabia’ which featured the late Peter O’ Toole, several times. This was due to my father’s enthusiasm for this film, probably due to him always thinking he looked like its co-star Omar Sharif, and he told me that Sharif’s character was named Sherif Ali. I always thought he named me after this character, though he denies it.

I would like to share a few lines from the movie that influenced my young and developing mind. Following seeing the film for the first time, my father explained the significance of the scene when Lawrence extinguishes a match between his thumb and forefinger, without flinching. He explained like Englishman T E Lawrence who lived and worked amongst the Arabs [becoming an Arab]; I would find myself an Indian living amongst the English, and like Lawrence I would have to overcome many obstacles to become one of them. 

Sometimes there would be difficult challenges to overcome, but I would have to be stoical, embrace the adversity and not show pain, weakness but work through them and in so doing, it would make me strong. As a child I looked up to my father and so his words echoed in my mind as I tried to understand what he meant and the significance of the burning match between Lawrence’s fingers. My father was trained as a psychiatrist, now retired and as eccentric in his thinking as his eldest son, even when he was a young man.

The astute understand the axiom that doing anything worthwhile is hard, and at times painful. Some cope with the pain of change, while others don’t. The ones that succeed understand that the management of reality exists principally in the mind. The outcome of any adversity rests firmly in how we view the problem, and the wider ramifications and context of the problem and the ability to smile though the rain.

In the lead up to last years Ridley Scott film “Prometheus”, the Australian actor Guy Pearce [playing Peter Weyland] references David Lean’s Lawrence of Arabia in a remarkable viral video.


“T.E. Lawrence, eponymously of Arabia but very much an Englishman, favoured pinching a burning match between his fingers to put it out. When asked by his colleague William Potter to reveal his trick, how is it he effectively extinguished the flame without hurting himself whatsoever, Lawrence just smiled and said”

 "The trick, William Potter, is not minding it hurts."

As a young kid, that scene resonated in me as I realized that my Father and TE Lawrence were right, as successfully overcoming challenges often depends on this principle of “not minding that it hurts”.

Later in life as I read German philosopher Friedrich Nietzsche, I realised that part of his view of life was based on this concept, though he expanded upon it. Nietzsche detailed that we should embrace, even look forward to challenges and adversity as the act of overcoming them makes us stronger, which became the mantra ‘What does not kill me, makes me stronger’.

The lesson being that the ups and downs of reality [and our lives] can be managed by the mind, and we must never allow adversity to overwhelm us, instead harness it - because if it were easy, any idiot could do it.

The reality we view is Holographic and only exists when observed

I have always been interested in science and the arts and their inter-relationship, from childhood, the concepts of accepted wisdom via logic as well as the more esoteric referenced by the moods that wash over us. One concept that has always fascinated me since I first read it, is the question ‘Does a falling tree in a forest make a sound if there is no observer present?’ I grappled with this for many years always concurring with what some quote as accepted wisdom ‘of course it makes a sound’. That was the case until several years ago when I started reading about ‘The Observer Effect’, or ‘The Hawthorne Effect’, and the critical nature of what brings existence into reality. It is now accepted wisdom that reality does not exist [and can not exist] without the presence of an observer. The solution to the falling tree dilemma can be addressed by two empirical experiments, and a physically real one –

[a] Understanding the duality of the existence of matter when one observes or chooses not to observe the Cat that Schrödinger put in his box, where the cat can be either alive or dead, or both at the same time.

[b] When a tree falls in a forest, the movement of displaced air molecules, dust and objects such as foliage will make a sound if there is an observer with a tympanic membrane [ie ear] or microphone for the displaced air molecules to hit and make vibrate and record the evidence of the falling tree. Failure to have an observer [could be a human Observer, and Animal or a Microphone] with the membrane at the moment the tree falls will result in no sound as the air molecules have nothing to strike and record the evidence of the falling tree. The air molecules hitting the ground or other trees, foliage does not count as they are not observers.

[c] The duality in nature of a stream of mono-chromatic photons passing through the ‘double slit’ proves that the observer is crucial in determining the reality of there being two possible states - wave or particle; which if we go one step further into Quantum Theory, shows that fundamental particles are of a wave nature, until observed – when they become what we term particulate. This may well bridge string theory and dark matter, and why the universe appears to be composed primarily of nothingness. This is proven when we take observation of fundamental particles, or even atoms, as what we term the whizzing electrons are everywhere, circling the nucleus, until the precise moment they are observed, then they appear in one specific place, until the observation is finished – when they are everywhere again, hence the energy of the wave nature of the particle becomes a physical presence – matter at the point of observation.

So nothing can exist unless it is observed, therefore the reality you experience around you is influenced by you, so there is credence in the adage ‘you create your own reality’. This however must also be tempered by the random nature of reality also, because like the collision of sub-atomic, fundamental as well as not so fundamental particles in the macro scale – as there is entropy and disorder. In your reality, this is due to the interactions you have with other observer’s realities [the people that surround you] that you interact with.

What does this mean to me?

It means I am careful [as one can be] with the people I interact with, as their observation of reality merging in areas of my own observation can change, or modify my own worldview. Though because we have so many interactions like those whizzing electrons, there will be unplanned collisions and therefore the ground we walk upon is not truly solid or firm in places, so we have to be wary of the cracks and fissures that traverse our world view and therefore our path in life.

Experiencing reality first-hand vs. watching a film or reading a book

The world [or reality] around you is far more complex than we’ve been lead to believe or taught. One concept that perhaps is hard to accept but logic proves it to be correct is the internalised hologram that our mind constructs from the sensory data it receives from our senses [and referenced and contextualised with our past experiences, our prejudices and our moods] is what we perceive as reality. Therefore the reality we experience is influenced [and some say created] by ourselves, and so therefore there is no fundamental reality, instead of rocky solid ground, it is in fact akin to the sands of a desert, ever shifting by the wind or the tides waxing and waning by the pull of our Moon.

Studies of the brain indicate that there is little difference in experiencing reality first hand, to that of experiencing it through the lens of a film or the prose of a novel; the synapses spark in the same manner. Though I would add that the experience of reading fiction, is far more rewarding than experiencing fiction as a film, though much more effort is required to read. This is why in my opinion fewer and fewer people read, as opposed to switching on a film or TV, because with a film, part of the work the brain has to undertake is done by the film maker, the visuals and audio are presented to us, so we sit back and allow our brains then to contextualise the sounds and images with our own inner prejudices, and our own life experiences; however the downside is that the experience is rarely as profound as the act of reading a very well written and engaging novel. The reason why reading is so much harder and ultimately more rewarding is that we take the words from the page and our brains have to work hard to convert them into the holographic representation that we term a form of reality. The most imaginative have brains that can vividly create the alternative reality, and the imaginative reader can then reassemble the words into a hologram and experience it as if it were happening in front of them. This also leads to a few strands of thought that as a book reviewer I concur with. The really good books can put the reader into a trance state, hypnotise them so they continue reading and the hologram takes on the shape of a lucid dream. When in this state, we get grumpy when we have to take breaks from this type of book as the reality we have constructed via the writer can be so powerful that it becomes more interesting than what we term ‘the real world’ we experience first hand. My own experience has been that reading great novels has allowed me to escape, provided me with insights and reduced my need for holidays, for within a really good book is a holiday from myself and my own reality. And perhaps most crucially, reading allows me to experience reality from a different point-of-view or context, and challenge my own thinking.

As the brain interprets the reality we perceive first hand in the same manner as the reality we perceive second-hand by the act of watching a film or reading a novel, except that reading is harder and uses more brain energy in constructing the hologram, but again the additional effort will reward more than sitting and watching a film. Reading also keeps the mind exercised and challenged and enhances our concept of empathy to our fellow human.

When viewing reality look for signs of the Artifice

I’ve always believed that much of what we perceive as reality is at best influenced by those amongst us with wealth and power, and at worst is a construct, an artifice. If you look back through history you will see the hands of manipulation at play, and hidden by the machinations of ‘Bread and Circuses’ and the modus operandi of the magician, long sleeves, an attractive and scantily clad assistant – all to misdirect the observer. Previously I mentioned the importance [and essential nature] of the observer in making the reality into what we experience. So by extending this logical augment, we can see that the reality we perceive can be manipulated. This manipulation is all around us, and now an industry - Public Relations, Perception Management, Lobbying, or even conditioning in educating our children into conforming to an agreed value system. Those who delve beneath the surface, the veneer of reality do so at their own peril because in the words of Dr Zeus to Taylor and Nova at the conclusion of ‘The Planet of the Apes’ “If you are seeking the truth by venturing into the Forbidden Zone, I warn you, you may not like what you find.”


Clues to the ability of humans to be fooled into believing a manipulated reality are all around us from the work of Edward Bernays, through to the extreme systems of governance such as the Nazis of the Right Wing and the Communists of the Left Wing, through to the experiments carried out by Dr Stanley Milgram, the Stanford Prison Experiments and understanding the term Propaganda.


I have long since explored the various events that some term as conspiracies while other use the term conspiracy theories. Some of these events or postulated explanations of these events are clearly silly, while others much more sinister. One common theme that occurs by those shocked by some of these events, is to ridicule those who ask questions. It’s a common defence when the questions challenge a belief system or call into query the people with power and influence and when a sinister agenda is revealed.

Studies reveal -

……it turned out that the anti-conspiracy people were not only hostile, but fanatically attached to their own conspiracy theories as well. According to them, their own theory of 9/11 – a conspiracy theory holding that 19 Arabs, none of whom could fly planes with any proficiency, pulled off the crime of the century under the direction of a guy on dialysis in a cave in Afghanistan – was indisputably true. The so-called conspiracists, on the other hand, did not pretend to have a theory that completely explained the events of 9/11: “For people who think 9/11 was a government conspiracy, the focus is not on promoting a specific rival theory, but in trying to debunk the official account.”

In short, the new study by Wood and Douglas suggests that the negative stereotype of the conspiracy theorist – a hostile fanatic wedded to the truth of his own fringe theory – accurately describes the people who defend the official account of 9/11, not those who dispute it.

Read More from Veterans Today Here

The problem is that as we grow we are conditioned into a belief system that is constantly reinforced anything that contradicts our world view is perplexing, and our instant reaction is to ridicule, as the people with power and influence need their agendas to be forwarded [and covertly, hidden in plain sight in many cases], besides the majority would have difficulty in handling the truth.


As a counterpoint, a remarkable chilling independent Horror / SF film from Canada that was released earlier this year, and imaginatively titled The Conspiracy is worth viewing, as it also puts an interesting point about governance of the masses in a chaotic and dangerous world –


The one common method of discrediting conspiracy theories is ‘and how could so many keep such a huge secret?’, and ‘I prefer cock-up theory’ – I would retort with these comments

[a] Keeping a secret is easy when you control the media and compartmentalize the truth in levels, and have enforcers who can create accidents or threaten the families at the core. An example is ‘The Manhattan Project’ or the Concentration Camps in Nazi Germany.

[b] Life is never black vs white, as we have shades of grey, so within any conspiracy there will be cock-ups, which makes the conspiracy now a conspiracy theory, and the seams visible to those who are interested to explore beneath the veneer.

[c] There is also disinformation out there to discredit real conspiracies by tarring them with the brush of the ones planted as disinformation tools.

I am not going to discuss the conspiracies that I believe are not theories here, because there is an even more sinister possibility, and one that many of us are starting to believe in. More worrying than the man-made artifices that merge into our perceived reality, are indications that the construct[s] or artifice[s] around us may not originate from Earth.

Many of us now believe that the reality we experience is engineered, a construct or what many term a simulation. This is nothing new for people who have viewed the film ‘The Matrix’ or ‘The Thirteen Floor’ or ‘Dark City’. The work of Nick Bostrom and his simulation argument is a most interesting one that these films allude to.

Bostrom’s argument is lucidly detailed at his website www.simulation-argument.com and I would urge you to explore the content.

Best summed up -

ABSTRACT. This paper argues that at least one of the following propositions is true: (1) the human species is very likely to go extinct before reaching a “posthuman” stage; (2) any posthuman civilization is extremely unlikely to run a significant number of simulations of their evolutionary history (or variations thereof); (3) we are almost certainly living in a computer simulation. It follows that the belief that there is a significant chance that we will one day become posthumans who run ancestor-simulations is false, unless we are currently living in a simulation. A number of other consequences of this result are also discussed.

The chilling side of the simulation argument lies in the belief of the following crucial axioms –

[a] That Humans enjoy escape and the deployment of simulations be they 3-D Films, Computer Games, Satellite Navigation Systems, training programs et al

[b] Moore’s Law is valid ie technological advancement doubles every two years, hence the march of technology is not linear but exponential and in a few years our computer games may well feature avatars who are unaware that they are trapped in a digital prison.

[c] If we wished to make a simulation of reality to study or escape to, we would lean toward the ‘highest’ end, not a ‘basic’ one like the stone age village, where life expectancy is low and medical advances limited.

This would indicate, that perhaps we would view a simulation that details the later days of mankind.


Though even more perplexing is a possibility what David Cronenberg explored in his film eXistenz, where an advanced civilisation discovers that when entering a virtual reality game that is a simulation, that within the game is another simulated reality game, and entering that one reveals that within that game / reality is yet another one, and so the rabbit hole is so deep that each time a civilisation creates a simulation, that the inhabitants of that simulation have created one of their own, and to quote Kurt Vonnegut, and so it goes.


I would also point out that many scientists are working on [and some say they have empirical proof, via measurement of cosmic rays] the theory that the universe we find ourselves in is actually a numerical / mathematical simulation. Remember that earlier I indicated that the act of the observer or the act of taking a measurement makes reality -

Silas R. Beane, Zohreh Davoudi, Martin J. Savage [9 Nov 2012]

Observable consequences of the hypothesis that the observed universe is a numerical simulation performed on a cubic space-time lattice or grid are explored. The simulation scenario is first motivated by extrapolating current trends in computational resource requirements for lattice QCD into the future. Using the historical development of lattice gauge theory technology as a guide, we assume that our universe is an early numerical simulation with unimproved Wilson fermion discretization and investigate potentially-observable consequences. Among the observables that are considered are the muon g-2 and the current differences between determinations of alpha, but the most stringent bound on the inverse lattice spacing of the universe, b^(-1) >~ 10^(11) GeV, is derived from the high-energycut off of the cosmic ray spectrum. The numerical simulation scenario could reveal itself in the distributions of the highest energy cosmic rays exhibiting a degree of rotational symmetry breaking that reflects the structure of the underlying lattice.

Others believe that our observable universe actually exists as a holographic projection from what we term an Event Horizon, the point of no return that edges a singularity, such as a black hole.


BBC Horizon featured a most interesting program exploring the nature of reality, which is accessible for those without a scientific background, and is accessible here, and highly recommended. Though in an earlier documentary [entitled Time-Trip] from the BBC, scientists postulated how a Time Machine could be built. This is truly a fascinating documentary very accessible and archived here. The chilling conclusion in a roundtable debate, features a very startling conclusion - rather than humans building a time machine, we had Nick Bostrom indicating [with agreement from his fellow scientists] that it is much more probable that we would build a simulation, and travel to recreate a time period. I would concur with this, as depressing as it appears, time is not real, but an illusion we’ve created to measure events as they unfold, and that time is not a constant, and does not flow [as in conventional belief] like a river, but exists as ‘the moment’. This theory has its opposition but many have difficulty seeing how time fits in with both classical and quantum physics, as it actually is not required for the functioning of the mathematics that binds reality.

However our former Astronomer Royal Lord Martin Rees of Ludlow offers a sobering thought. Rees when presenting the 2010 Reith Lectures indicates that we may never fully realise the nature of the reality we are experiencing due to our own cognitive limitations –

Some of the greatest mysteries of the universe may never be resolved because they are beyond human comprehension, according to Lord Rees, president of the Royal Society.

Rees suggests that the inherent intellectual limitations of humanity mean we may never resolve questions such as the existence of parallel universes, the cause of the big bang, or the nature of our own consciousness.

He even compares humanity to fish, which swim through the oceans without any idea of the properties of the water in which they spend their lives.

“Just as a fish may be barely aware of the medium in which it lives and swims, so the microstructure of empty space could be far too complex for unaided human brains.”

Rees’s thesis could prove highly provocative to other scientists, especially those who have devoted their careers to understanding such mysteries.

And so finally, many of these thoughts to me seem to relate to our Moon, and for the reasons why? Let’s consider the ridiculous concept -

The Moon is Artificial

So all these ideas in my mind have a link to our moon, and like scientists before who postulated that the world was a sphere and not flat [which was at the time the considered wisdom] were subject to ridicule. At my stage in life I do not worry about ridicule in my belief that the moon is artificial. My fascination with the moon started [like many] watching the Apollo landings as a child, [and we won’t debate the veracity of these alleged manned landings or the significance of the Van Allen Belts here] - and most recently reading Who Built The Moon by Christopher Knight and Alan Butler. The first two thirds are very compelling and strongly researched, however I am at odds with the last third, mainly their conclusion as to who built it. I conclude that the moon is artificial but can not allude as to who or what built the damned thing or placed it in our orbit.

What many don’t realise is that without the Moon life on Earth could not have evolved, as the Moon control the oceans, tidal flows that oxygenate the ocean, allow the amino acids to combine and recombine into DNA. No Moon would result in stagnant oceans and no life on Earth. What perplexes me is its unbelievably amazing orbit keeping Earth in the Goldilocks Zone, the low surface heat capacity, the abundance of refractory metals such as Titanium, Chromium, Vanadium etc, high levels of Nuclear Fusible Helium-3 isotope, the massive diameter but very shallow craters, the Moon is older than the Earth, the Moon’s density is many times lower than the Earth, and potentially hollow - I could go on, the anomalous nature and origin of our Moon is not understood, though the abundance of He-3 and refractory metals have got the Chinese sending robotic missions, with the Indians not far behind.

Michael Vasin and Alexander Shcherbakov of Soviet Academy of Sciences published an article entitled "Is the Moon the Creation of Alien Intelligence?" which I have copied below, and should provoke interest, as it is as valid today as it was in the 1970s

IS THE MOON THE CREATION OF INTELLIGENCE?

by Mikhail Vasin and Alexander Shcherbakov

Although people long ago began to wonder whether the "canals" on Mars were the creation of cosmic engineers, for some odd reason it has not occurred to look with the same eyes upon the peculiarities of the lunar landscape much closer at hand. And all the arguments about the possibilities of intelligent life existing on other celestial bodies have been confined to the idea that other civilisations must necessarily live on the surface of a planet, and that the interior as a habitat is out of the question.

Abandoning the traditional paths of "common sense", we have plunged into what may at first sight seem to be unbridled and irresponsible fantasy. But the more minutely we go into all the information gathered by man about the Moon, the more we are convinced that there is not a single fact to rule out our supposition. Not only that, but many things so far considered to be lunar enigmas are explainable in the light of this new hypothesis.

AN ARTIFICIAL SPUTNIK OF THE EARTH?

The origin of the Moon is one of the most complicated problems of cosmogony. So far there have been basically three hypotheses under discussion.

HYPOTHESIS I. The Moon was once a part of the Earth and broke away from it.

This has now been refuted by the evidence.

HYPOTHESIS II. The Moon was formed independently from the same cloud of dust and gas as the Earth, and immediately became the Earth's natural satellite.

But then why is there such a big difference between the specific gravity of the Moon (3.33 grammes per cubic centimetre) and that of the Earth (5.5 gr.)? Furthermore, according to the latest information (analysis of samples brought back by the U.S. Apollo astronauts) lunar rock is not of the same composition as the Earth's.

HYPOTHESIS III. The Moon came into being separately, and, moreover, far from the Earth (perhaps even outside the Solar system). This would mean that the moon would not have to be fashioned from the same "clay" as our own planet. Sailing through the Universe, the Moon came into Earth's proximity, and by a complex interplay of forces of gravity was brought within a geocentric orbit, very close to circular. But a catch of this kind is virtually impossible.

In fact, scientists studying the origin of the Universe today have no acceptable theory to explain how the Earth-Moon system came into being.

OUR HYPOTHESIS:
The Moon is an artificial Earth satellite put into orbit around the Earth by some intelligent beings unknown to ourselves.

We refuse to engage in speculation about who exactly staged this unique experiment, which only a highly developed civilisation was capable of.

A NOAH'S ARK?

If you are going to launch an artificial sputnik, then it is advisable to make it hollow. At the same time it would be naive to imagine that anyone capable of such a tremendous space project would be satisfied simply with some kind of giant empty trunk hurled into a near-Earth trajectory.

It is more likely that what we have here is a very ancient spaceship, the interior of which was filled with fuel for the engines, materials and appliances for repair work, navigation, instruments, observation equipment and all manner of machinery... in other words, everything necessary to enable this "caravelle of the Universe" to serve as a kind of Noah's Ark of intelligence, perhaps even as the home of a whole civilisation envisaging a prolonged (thousands of millions of years) existence and long wanderings through space (thousands of millions of miles).

Naturally, the hull of such a spaceship must be super-tough in order to stand up to the blows of meteorites and sharp fluctuations between extreme heat and extreme cold. Probably the shell is a double-layered affair--the basis a dense armouring of about 20 miles in thickness, and outside it some kind of more loosely packed covering (a thinner layer--averaging about three miles).
In certain areas--where the lunar "seas" and "craters" are, the upper layer is quite thin, in some cases, non-existent.

Since the Moon's diameter is 2,162 miles, then looked at from our point of view it is a thin-walled sphere. And, understandably, not an empty one. There could be all kinds of materials and equipment on its inner surface.

But the greatest proportion of the lunar mass is concentrated in the central part of the sphere, in its core, which has a diameter of 2,062 miles.

Thus the distance between the kernel and the shell of this nut is in the region of 30 miles. This space was doubtless filled with gases required for breathing, and for technological and other purposes.

With such an internal structure the Moon could have an average specific gravity of 3.3 grammes per cubic centimetre, which differs considerably from that of Earth (5.5 grammes per cubic centimetre).

A BATTLESHIP THEY COULDN'T TORPEDO?

The most numerous and interesting of the formations on the lunar surface are the craters. In diameter they vary considerably. Some are less that a yard across, while others are more than 120 miles (the biggest has a diameter of 148 miles). How does the Moon come to be so pockmarked?

There are two hypothesis--volcanic and meteoric. Most scientists vote for the latter.

Kirill Stanyukovich, a Soviet physicist, has written a whole series of works since 1937 in which he expounds the idea that the craters are the result of bombardment of the Moon for millions of years. And he really means bombardment, for even the smallest celestial body, when it is involved in one of those fastest head-on collisions so common in the cosmos behaves itself like a warhead charged with dynamite, or even an atomic warhead at times. Instant combustion takes place on impact, turning it into a dense cloud of incandescent gas, into plasma, and there is a very definite explosion.

According to Professor Stanykovich, a "missile" of a sizable character (say 6 miles in diameter) must, on collision with the Moon, penetrate to a depth equal to 4 or 5 times its own diameter (24-30 miles).

The surprising thing is that however big the meteorites may have been which have fallen on the Moon (some have been more than 60 miles in diameter), and however fast they must have been travelling (in some cases the combined speed was as much as 38 miles per second), the craters they have left behind are for some odd reason all about the same depth, 1.2-2 miles, although they vary tremendously in diameter.

Take that 148-mile diameter crater. In area it outdoes Hiroshima hundreds of times over. What a powerful explosion it must have been to send millions of tons of lunar rock fountaining over tens of miles! On the face of it, one would expect to find a very deep crater here, but nothing of the sort: there is three miles at the most between top and bottom levels, and one third of that is accounted for by the wall of rock thrown up around the crater like a toothed crown.

For such a big hole, it is too shallow. Furthermore, the bottom of the crater is convex, following the curve of the lunar surface. If you were to stand in the middle of the crater you would not even be able to see the soaring edge-- it would be beyond the horizon. A hollow that is more like a hill is a rather strange affair, perhaps.

Not really, if one assumes that when the meteorite strikes the outer covering of the moon, this plays the role of a buffer and the foreign body finds itself up against an impenetrable spherical barrier. Only slightly denting the 20-mile layer of armour plating, the explosion flings bits of its "coating" far and wide.

Bearing in mind that the Moon's defence coating is, according to our calculations, 2.5 miles thick, one sees that this is approximately the maximum depth of the craters.

A SPACESHIP COME TO GRIEF?

Now let us consider the chemical peculiarities of the lunar rock. Upon analysis, American scientists have found chromium, titanium and zirconium in it. These are all metals with refractory, mechanically strong and anti-corrosive properties. A combination of them all would have envitable resistance to heat and the ability to stand up to means of aggression, and could be used on Earth for linings for electrical furnaces.

If a material had to be devised to protect a giant artificial satellite from the unfavourable effects of temperature, from cosmic radiation and meteorite bombardment, the experts would probably have hit on precisely these metals. In that case it is not clear why lunar rock is such an extraordinarily poor heat conductor--a factor which so amazed the astronauts? Wasn't that what the designers of the super-sputnik of the Earth were after?

From the engineers point of view, this spaceship of ages long past which we call the Moon is superbly constructed. There may be a good reason for its extreme longevity. It is even possible that it predates our own planet. At any rate, some pieces of lunar rock have proved older than the oldest on Earth, although it is true, this applies to the age of the materials and not of the structure for which they were used. And from the number of craters on its surface, the Moon itself is no chicken.

It is, of course, difficult to say when it began to shine in the sky above the Earth, but on the basis of some preliminary estimates one might hazard a guess that it was around two thousand million years ago.

We do not, of course, imagine that the moon is still inhabited, and probably many of its automatic devices have stopped working, too. The stabilisers have ceased functioning and the poles have shifted. Even though the moon keeps that same side turned towards us, for some time it has been unsteady on its own axis, on occasion showing us part of its reverse side which were once invisible to observers on the Earth--for example, the Selenites themselves if they made expeditions here.

Time has taken its toll. Both body and rigging have disintegrated to some extent; some seams on the inner shell evidently diverged. We assume that the long (up to 940 miles) chains of small craters formerly ascribed to volcanic activity were brought about by eruptions of gas through cracks appearing in the armour plating as a result of accidents.

No doubt one of the most splendid features of the lunarscape--a straight "wall" nearly 500 yards high and over 60 miles long--formed as a result of one of the armour plates bending under the impact of celestial torpedoes and raising one of its straight, even edges.

The Moon's population presumably took the necessary steps to remedy the effects of meteorite bombardment, for example, patching up rents in the outer shield covering the inner shell. For such purposes a substance from the lunar core was probably used, a kind a cement being made from it. After processing this would be piped to the surface sites where it was required.

Not long ago astronomers discovered variations in the gravitational fields near the large "seas". We believe the reason to be this: the Moon's dry seas are in fact areas from which the protective coating was torn from the armour cladding. To make good the damage to these vast tracts, the installation producing the repair substance would have had to be brought immediately beneath the site so that it could flood the area with "cement". The resulting flat stretches are what look like seas to the terrestrial observer.

The stocks of materials and machinery for doing this are no doubt still where they were, and are sufficiently massive to give rise to these gravitational anomalies.

What is the Moon today? Is it a colossal necropolis, a "city of the dead," where some form of life became extinct? Is it a kind cosmic Flying Dutchman?

A craft abandoned by its crew and controlled automatically? We do not know and we shall not try to guess.

BLUE OR RED PILL

So may the Existentialist Man wish you, your families and friends a very good Christmas [or what ever winter festival you celebrate], and now that the winter solstice has passed, an excellent 2014. For those with challenges ahead, may you gain strength upon overcoming them as Fredrich Nietzsche indicated when he said ‘what doesn’t kill you makes you stronger’.

And when it comes to your thinking, and the ability to look beyond your programming, you may have to decide whether you are going to take the red or blue pill.

It may depend on what Paul Simon sang indicating that your preference may impinge on if you are accustomed to a smooth ride, because some of these thoughts will give you bumps, but who said reality would be easy?

I'm accustomed to a smooth ride
Or maybe I'm a dog who's lost it's bite
I don't expect to be treated like a fool no more
I don't expect to sleep through the night
Some people say a lie's a lie's a lie
But I say why
Why deny the obvious child?
Why deny the obvious child?


THE OBVIOUS CHILD by PAUL SIMON


I'm accustomed to a smooth ride
Or maybe I'm a dog who's lost it's bite
I don't expect to be treated like a fool no more
I don't expect to sleep through the night
Some people say a lie's a lie's a lie
But I say why
Why deny the obvious child?
Why deny the obvious child?

And in remembering a road sign
I am remembering a girl when I was young
And we said these songs are true
These days are ours
These tears are free
And hey
The cross is in the ballpark
The cross is in the ballpark

We had a lot of fun
We had a lot of money
We had a little son and we thought we'd call him sonny
Sonny gets married and moves away
Sonny has a baby and bills to pay
Sonny gets sunnier
Day by day by day by day

I've been waking up at sunrise
I've been following the light across my room
I watch the night receive the room of my day
Some people say the sky is just the sky
But I say
Why deny the obvious child?
Why deny the obvious child?

Sonny sits by his window and thinks to himself
How it's strange that some rooms are like cages
Sonny's yearbook from high school
Is down from the shelf
And he idly thumbs through the pages
Some have died
Some have fled from themselves
Or struggled from here to get there
Sonny wanders beyond his interior walls
Runs his hand through his thinning brown hair

Well I'm accustomed to a smoother ride
Maybe I'm a dog that's lost his bite
I don't expect to be treated like a fool no more
I don't expect to sleep the night
Some people say a lie is just a lie
But I say the cross is in the ballpark
Why deny the obvious child?

Saturday, July 13, 2013

In a Random Reality – You Never Can Tell

Back in my teenage years, I used to collect Bruce Springsteen bootlegs, live radio broadcasts, concerts, I even had his telephone voicemail message. One of my favourite bootleg recordings came from his 1974 legendary concert at the Agora Ballrooms, Cleveland Ohio, with the masterful cover version of Chuck Berry’s You Never Can Tell


I’ve always loved the central theme, of young love and unexpected domestic bliss from an unlikely couple starting a life together, and surprising their peers. However, this simple tale has a deeper context, one that speculates that existing in a random reality, anything can happen because ‘you never can tell’ - as the old folks in France postulate with their phrase ‘Cest La Vie’ or such is life – an existential message if ever I saw one; and one that is life-affirming.

"You Never Can Tell" is also occasionally referred to as "C'est La Vie" and "Teenage Wedding", is a rock and roll song originally composed a preformed by Chuck Berry. It was written while he was in prison for intent to commit a sex crime. The song was originally released in 1964 on the album St. Louis to Liverpool, and has also been recorded or performed by Chely Wright, John Prine, New Riders of the Purple Sage, the Jerry Garcia Band, Bruce Springsteen, Bob Seger and Emmylou Harris.


"You Never Can Tell" by Chuck Berry

It was a teenage wedding,
and the old folks wished them well
You could see that Pierre
did truly love the mademoiselle
And now the young monsieur
and madame have rung the chapel bell,
"C'est la vie", say the old folks,
it goes to show you never can tell

They furnished off an apartment
with a two room Roebuck sale
The coolerator was crammed
with TV dinners and ginger ale,
But when Pierre found work,
the little money comin' worked out well
"C'est la vie", say the old folks,
it goes to show you never can tell

They had a hi-fi phono, boy, did they let it blast
Seven hundred little records,
all rock, rhythm and jazz
But when the sun went down,
the rapid tempo of the music fell
"C'est la vie", say the old folks,
it goes to show you never can tell

They bought a souped-up jitney,
'twas a cherry red '53,
They drove it down New Orleans
to celebrate their anniversary
It was there that Pierre was married
to the lovely mademoiselle
"C'est la vie", say the old folks,
it goes to show you never can tell

It got a big boost when Quentin Tarantino used it for the dance sequence between Uma Thurman and John Travolta in his film PULP FICTION –


However, it’s Bruce Springsteen & the E-Street Band who really brings this track to life in my humble opinion. Very rarely played live, and never pressed onto a studio recording Springsteen did play it live a couple of times on tour in 2009. Though on 7th July in Leipzig, he played a blistering version replete with a horn section that is truly life affirming. It was played due to an audience member’s sign-request. As it is so rarely played it took a few minutes for Bruce and the band to prepare, and there are many gonzo-camera-phone footage of the performance on you-tube, as a result.

This footage is the complete 8 minutes, with warm up and with the horns section, just puts a big smile on your face –



And this clip, slightly truncated but with great sound again makes the blood pump and the toes tap –


Watching this formed a smile on my face, because life-affirming moments confirm that when observing this reality, everything is random, as "C'est la vie", say the old folks, it goes to show you never can tell


The reason why this song, and Springsteen's version[s] resonate so deeply within my mind as that when Muriel and I got engaged to marry, over 22 years ago, there were many who [with the best of intentions] wondered how long our marriage would last. All things considered it was a mixed-marriage, Muriel being Irish [though 1/8th French], and me being British but of Indian Origin, and my own eccentric nature. So whenever I listen to this song, it makes me smile.

Sunday, June 16, 2013

Various Positions


In the building excitement to finally see Leonard Cohen live after decades of listening to his music and reading his poetry, I find my thoughts swirl toward the insights the quiet Canadian provides those who look deeply into his poetry. My obsessive personality irritates many people, and I always retort, imagine living with it 24/7? I spent several hours yesterday listening to one song in particular, a song that I consider I finally understand - 'Heart with no Companion'.

Cohen may well be the poet of the melancholic, tackling many aspects of life and reality – but if you look closely to his lyrics you will find both an existential air as well as some wickedly dark humour. The first piece of music I sent Muriel, the woman who became my wife, was the Jennifer Warnes ‘Famous Blue Raincoat : The Songs of Leonard Cohen’ album [on tape] from when I worked in Saudi Arabia in the 1980’s.



I spent several hours last night listening to live versions of his track “Heart with no Companion”, from his CD ‘Songs from the Road’ as well as various gonzo-filmed clips at YouTube. Though dating from 1984’s ‘Various Positions’ Album / CD, the live version[s] are enlightening. Using contrast, we have a very upbeat, tempo tune sung cheerfully but featuring some dark insights into the tragedies that life can provide, but the narrator explains that it will all work out fine in the end. Not one to understate tragedy, Cohen’s narrator greets the listener from surviving his own despair, which was so awful that it shattered him and so he can reach out to everyone and tell them that is survivable. 

He warns of unrequited love, loneliness, unfulfilled aspirations that can lead to ‘the days of shame that will follow, and wild distress’

Never one to hold back [Cohen doesn't indicate that it will be bad, but uses the term wild distress]; the up-tempo rhythm allows these troubling insights to cheerfully seep into your consciousness. Reminiscent of Bobby Darren’s upbeat tune ‘Mack The Knife’ hiding the sinister tale of a serial killer, or Olivia Newton-John’s reworking of ‘Banks of the Ohio’ another dark tale masked by a cheerfully upbeat tune.

Like much of Cohen’s work, there are existential insights into our plight, as well as a calming, almost soothing edge to the melancholia, even when the apocalyptic visions he details in The Future as sung in a cheerful and amusing manner. When he confronts his topics, including the awareness of our own doom, what we term Mortality Salience and Terror Management, he does so with insight, as well as wink with his golden voice. Remember he is after all an ordained Zen-Buddhist Monk. 

So with 'Heart with no Companion', Cohen warns that trouble is coming and it is terrifying, and related to human nature - but take heart as he will see you on the other side; because you will survive, but you will need to hold firm as it will result in nights of wild distress.


Heart With No Companion by Leonard Cohen

I greet you from the other side
Of sorrow and despair
With a love so vast and shattered
It will reach you everywhere

And I sing this for the captain
Whose ship has not been built
For the mother in confusion
Her cradle still unfilled

For the heart with no companion
For the soul without a king
For the prima ballerina
Who cannot dance to anything

Through the days of shame that are coming
Through the nights of wild distress
Tho' your promise count for nothing
You must keep it nonetheless

You must keep it for the captain
Whose ship has not been built
For the mother in confusion
Her cradle still unfilled

For the heart with no companion ...

I greet you from the other side ...



Melancholia was seldom so wonderfully [and cheerfully] presented by anyone, apart from Mr. Leonard Cohen.

Tuesday, June 4, 2013

King’s Joyland lands 7th June

Well it’s close to release day for Stephen King’s Joyland, from Charles Ardai’s Hard Case Crime [an imprint of Titan Publications of Great Britain].

I've read it and will be releasing a feature length review shortly, but the first cab off the rank is from Bill Sheenan of The Washington Post who describes the book as -

“Joyland” is the second paperback original that Stephen King has released with Hard Case Crime, a small publisher specializing in new and vintage crime fiction of the classically hardboiled variety. The first was “The Colorado Kid” (2005), which serves, somewhat loosely, as the basis for the TV series “Haven.” A slight but memorable departure — for King and for Hard Case Crime — the novel offered a gentle, character-driven narrative notable for its deliberate lack of resolution.
“Joyland” is, in many respects, a different sort of book, but it, too, depends on King’s typically unerring sense of character for its deepest effects. The narrator is Devin Jones, a 60-something writer looking back on the summer of 1973, when he was 21 years old. Devin spent that summer as an apprentice carny at Joyland, a family-owned amusement park struggling to survive in a rapidly changing world. Within that Bradbury-like setting, King has created a moving, immensely appealing coming-of-age tale that encompasses restless ghosts, serial murder, psychic phenomena and sexual initiation

Read the full feature here

Here’s a couple of videos to get you in the mood for this books release -





Set in a small-town North Carolina amusement park in 1973, Joyland tells the story of the summer in which college student Devin Jones comes to work as a carny and confronts the legacy of a vicious murder, the fate of a dying child, and the ways both will change his life forever. 

"I love crime, I love mysteries, and I love ghosts. That combo made Hard Case Crime the perfect venue for this book, which is one of my favorites. I also loved the paperbacks I grew up with as a kid, and for that reason, we're going to hold off on e-publishing this one for the time being. Joyland will be coming out in paperback, and folks who want to read it will have to buy the actual book." Stephen King

And you can read the first chapter here


And following in the path of Joyland comes King’s sequel to The Shining Dr Sleep from Hodder and Stoughton in September.


Friday, October 12, 2012

Busking on the streets of Cleveland


I had a really great time at Bouchercon 2012 [‘The World Crime, Mystery and Thriller Convention’], held this year in Cleveland, OHIO, the home of The Rock and Roll Hall of Fame. This year I travelled with my very dear friend, Editor-in-Chief of Shots eZine and award-winning novelist Mike Stotter. My friend, Editor at The Rap Sheet, Jeff Peirce posted a few photos of our adventures here

On the Friday afternoon, in the rain, we passed a bar, and this song was blaring out on the street, and it got my feet tapping. I am ashamed to say I had never heard this song before. The opening riff I thought was from ACDC, then as the vocals came on I thought, no it sounds like John Fogerty of Creedance Clearwater Revival. I just couldn’t stop rocking to the beat. I put my exuberance down to a combination of a lack of sleep and excess caffeine consumption

 Mike Stotter decided to film it.











When I got home, as I couldn’t get that song out of my head, I was amazed to find it was actually by the Hollies – a British band! And considering we were in Cleveland for a crime-fiction convention, the lyrics seemed torn from the pages of a noir story.

"Long Cool Woman in a Black Dress" was a song by the rock and roll group, The Hollies, and released on February 1, 1972 as a single on the Parlophone Records label.

It was released soon after Allan Clarke, who was featured on lead guitar as well as lead vocal had left the group, from their album "Distant Light" (1970). As the group had just left EMI/Parlophone and signed with Polydor, they did not promote the song. However it became a No. 2 hit in the United States, their greatest ever singles success there. It was inspired and in the style of the rock and roll group Creedence Clearwater Revival, and on being reactivated by EMI in Britain a few months later, it reached No. 32.
The song is notable in that it features Clarke playing rhythm guitar, something he rarely did (Clarke came up with the song's signature guitar rhythm that opens the song).

Read More



Long Cool Woman in a Black Dress by the Hollies [1972]
Written by Allan Clarke, Roger Cook, and Roger Greenaway

Saturday night I was downtown
 Working for the FBI
Sitting in a nest of bad men
Whiskey bottles piling high

Bootlegging boozer on the west side
Full of people who are doing wrong
Just about to call up the DA man
When I heard this woman singing a song

A pair of moneybags made me open my eyes
My temperature started to rise
She was a long cool woman in a black dress
Just a 5'9" beautiful 'n' tall Just one look I was a bad mess
'Cause that long cool woman had it all

I saw her heading to the table
Well, a tall walking big black cat Charlie said,
 "I hope that you're able, boy
 'Cause I'm telling you she knows where it's at"

Suddenly we hear the sirens
Everybody started to run
Jumping under doors and tables Well,
I heard somebody shooting a gun

Well, the DA was pumping my left hand
She was holding my right Well, I told her, "Don't get scared
'Cause you're gonna be spared
I'm gonna be forgiven if I wanna spend my living"

With a long cool woman in a black dress
Just a 5'9" beautiful 'n' tall
Just one look I was a bad mess
'Cause that long cool woman had it all
She had it all, she had it all, she had it all She had it all

You got it all, you got it all,
you got it all You got it all, got it all, got it all, got it all
Pretty long cool woman had it all


Thursday, October 11, 2012

MORALLY CHALLENGED HEROES



Last Friday I met up with my writing Colleagues Liz Hand, Lou Berney, Chris F Holm and Seth Harwood, in Cleveland for our Bouchercon Panel, a discussion on “Morality in the Crime Fiction Hero / Anti-Hero.” Considering there were three other excellent panels, as well as key-note event with Toastmaster John Connolly in conversation with fellow bestselling novelist Karin Slaughter, we were very surprised at the turnout. It was standing room only, and for those who attended, we wish to thank you. As ‘morality in crime-fiction’ is a very broad and interesting topic, we had far more questions than time’, so I thought it might be fun to publish my notes and questions that we raised, as well as the ones we didn’t have time to debate. These points both those discussed and those not, should provoke thought. This is the pleasure of reading, it engages the mind and makes us think about life and reality, and the prism of crime fiction, an excellent way of viewing matters in an existential light. And we all know it rains on the just and unjust alike.

I would urge you to explore the panelist’s work, though Wallace Stroby emailed me that afternoon, with an apology as he was taken sick and therefore unable to participate. In honour of Clint Eastwood, who played the amoral Dirty Harry, we left Wallace’s chair empty………

Elizabeth Hand In the 1970s, Elizabeth Hand flunked out of college and became involved in the nascent punk scenes in DC and NYC. From 1979 to 1986 she worked at the Smithsonian Institution's National Air & Space Museum, and eventually received a BS in cultural anthropology. She is the author of eleven novels and four collections of short fiction. Her work has received numerous honors, including the Shirley Jackson Award, World Fantasy Award, and Nebula Award, and her novels have been New York Times and Washington Post Notable Books.  A regular contributor to the Washington Post, LA Times, Salon, and The Magazine of Fantasy and Science Fiction, among others, Hand divides her time between the Maine coast and North London.

Her novel Available Dark [2012] is a foray into crime fiction and a sequel to her highly regarded 2007 Novel Generation Loss, which received the inaugural Shirley Jackson Award for best work of psychological suspense.   Both books feature her antihero Cassandra [Cass] Neary who she describes “as your prototypical amoral speedfreak crankhead kleptomaniac murderous rage-filled alcoholic bisexual heavily tattooed American female photographer.” Perfect for our panel on amoral heroes!

Lou Berney is an accomplished writer, teacher, and liar. He is the author of WHIPLASH RIVER (William Morrow, 2012) and GUTSHOT STRAIGHT (William Morrow, 2010). GUTSHOT STRAIGHT was nominated for a Barry Award and named by Booklist as one of the best debut crime novels of the year. Often compared to Elmore Leonard with a dash of Carl Hiaason, his short fiction has appeared in publications such as The New Yorker, Ploughshares, and the Pushcart Prize anthology, and he has written feature screenplays and created TV pilots for, among others, Warner Brothers, Paramount, Focus Features, ABC, and Fox. 

Currently he teaches writing at the University of Oklahoma and Oklahoma City University. Berney’s antihero Charles "Shake" Bouchon, is a professional wheel man [aka getaway driver] and is described as “too nice a guy for the life he's led, but not nice enough for any other”

Chris F Holm - was born in Syracuse, New York, the grandson of a cop with a penchant for crime fiction.  It was punk rock and Star Wars, two influences that hold more sway over Holm, than perhaps his wife would like.  But it was books [like many of us] that defined his childhood, from his grandfather’s Wambaugh and Lawrence Sanders paperbacks, to the timeworn pulps picked up secondhand from the library. Apparently, he wrote his first story at the age of six.  It got him sent to the principal’s office and he’d like to think that right then is when he decided to become a writer.


Since then, he’s fared a little better. His stories have appeared in a slew of publications, including Ellery Queen’s Mystery Magazine, Alfred Hitchcock’s Mystery Magazine, Beat to a Pulp, and Thuglit.  His novella “The Hitter” was selected to appear in THE BEST AMERICAN MYSTERY STORIES 2011, edited by Harlan Coben and Otto Penzler. He’s been an Anthony Award nominee, a Derringer Award finalist, and a Spinetingler Award winner.  His Collector novels, DEAD HARVEST [Feb 2012] and THE WRONG GOODBYE [Sept 2012], recast the battle between heaven and hell as Golden Era crime pulp. They feature Sam Thornton a collector of souls from the damned and sends them into eternal misery. So it should have been straightforward to collect the soul of 17-year-old mass murderer Kate MacNeil, but something isn’t right; her soul is too pure. The collection of an innocent soul can throw off the balance of good and evil and spark a chain of events that leads to the end of the world, biblical style – hence the moral / amoral dimension.

Wallace Stroby – I first met Wallace on a late night drinking binge at Bouchercon Las Vegas in 2003, in a bar called ‘The Peppermill’, which was featured in John Ridley’s amoral novel ‘Everyone Smokes in Hell’, and we’ve been bumping into each other at Bouchercons ever since. Stroby is an award-winning journalist and the author of the novels
"Kings of Midnight," "Cold Shot to the Heart," "Gone 'Til November," "The Heartbreak Lounge" and "The Barbed-Wire Kiss.".

A Long Branch, N.J., native, he's a lifelong resident of the Jersey Shore. "The Barbed-Wire Kiss," which The Washington Post called "a scorching first novel ...full of attention to character and memory and, even more, to the neighborhoods of New Jersey," was a finalist for the 2004 Barry Award for Best First Novel.

A graduate of Rutgers University, Stroby was an editor at the Star-Ledger of Newark, Tony Soprano's hometown newspaper, for 13 years. In Stroby’s latest KINGS OF MIDNIGHT, Crissa Stone, the cool-headed professional thief from Stroby's acclaimed COLD SHOT TO THE HEART returns and when reviewed at Kirkus she is described - "Crissa Stone may be crime fiction's best bad girl ever."
Seth HarwoodBoston born but now residing in California, Seth is the author of the Jack Palms novels. In 2005, Seth Harwood began writing his debut novel, Jack Wakes Up. No stranger to the literary scene, Harwood had graduated from the prestigious Iowa Writers' Workshop just a few years earlier and his short stories had been published in numerous literary magazines and anthologies; getting attention from publishers for Jack Wakes Up, however, proved more difficult. So in July of 2006, Seth recorded a podcast of Jack Wakes Up and posted it on his website, SethHarwood.com, for free download. The podcast was a major hit and the Jack Palms Crime Podcast Series was born. Soon JACK WAKES UP was published by Three Rivers Press Paperback Original [Random House]. Since then he has written This is The Life [Jack Palms #2], Czechmate [Jack Palms #3], Triad Death Match [A Jack Palms Novella], A Long Way from Disney [a short story collection], In Broad Daylight [a Jess Harding FBI thriller]. 

The Jack Palms’ novels feature the eponymous anti-hero, former Hollywood one-hit wonder and ex-drug addict now has cleaned up his act, and is sorting his life out, but aspects of his amoral past still lay in his mind, and Palms is described by some as “half-likeable and half-asshole”. Though it is his 2010 novel Young Junius, that is perhaps his most intriguing, taking the 14 year old Junius Posey, who sets to track down his brother’s killer in a rundown area of Cambridge, Massachusetts. Junius ends up a killer, crossing the line but it’s the amorality he’s learned that allows him to sort out the dangers around him.

Seth teachs English and writing at CCSF [City College San Francisco] and Stanford University, and previously at UMass Boston and the University of Iowa.

Q         Would you agree that the basis of the success of the Crime Fiction /  Mystery Genre is the understanding of ‘Morality’, and the restoration of  order? Unlike in life, in the crime novel we have the ability to solve the problem, punish the guilty and restore order, giving the reader a sense of ‘closure’ / catharsis as satisfaction is often absent in the real world, due to the random nature of reality [where the rain falls on the just, as well as the unjust, in equal measure]?


Q         In some crime novels we often have the good guy, who restores the order  but in order to do so, he has a side-kick [to do the dirty work] so the hero keep his uniform white, eg Bubba works with Patrick and Angie in Dennis Lehane’s PI novels, Robert B Parker’s Spencer has Hawk, Harlan Coben’s Myron Bolitar has Win, Bob Crais’ Elvis Cole has Joe Pike, while        some writers allow their ‘heroes / anti-heroes to do their own dirty work. What are your thoughts on this matter, should the hero clean up his own mess, or have a side-kick? And what do you do in your own writing with this dilemma?

Q         Many critics indicated that the Bond villains were very, very bad because James Bond was a deeply amoral character himself, so his enemies had to be even more grotesque, a bit like the Batman villains [as Bruce Wayne was a psychopath] would you agree that when your character / hero / anti-hero is a bad-ass, then his foes have to be even more evil?

         At this point the panel were asked “if you were in deep, deep trouble and need to call upon a fictional character to help you out of a jam, who would you call?” Seth Harwood asked “…but what sort of trouble?” At which I replied “consider it a big bloody problem, so big it would take an imaginary character, a real bad-arse to resolve." The panelists spoke about the character they would call, and the audience voted for a winner, and it was Chris Holm’s nomination of Bruce Wayne / Batman that was voted the biggest bad-arse, and the one they would call if mired in a huge problem, beating Patricia Highsmith’s Tom Ripley, Richard Stark’s Parker and Helen Zahavi's Bella.

       At this point, a giant cockroach fell from the ceiling to much consternation from the audience, luckily the Editor-in-Chief of Shots Magazine, and insect-wrangler managed to stamp on it, before it attacked the panel. This was a good time to open up the panel to the audience, for their questions.

            This left the following questions un-debated, but you might find them of interest and may provoke thought.

Q         When writing a amoral hero[s] / anti-hero[s], how hard it is to ensure the reader retains sufficient sympathy with the character[s] so there is a  willingness to continue to read, on. What writing tactics do you deploy with examples to keep the reader engaged even when the lead has some unpleasant character traits? [eg Elmore Leonard deployed humor, Westlake / Stark deployed violence and an efficiency, sense of purpose in the ruthlessness in Parker, Harris gave Lecter some very insightful dialogue and a scary intelligence, Larsson gave Salander autism linked to her backstory and hi-tech skills, Fleming gave Bond an upperclass  perspective, exotic tastes and locations, etc]

Q         I recall being chilled when I read that Adolf Hitler loved dogs, as he was a huge animal lover, this made him [in my opinion] all the more hideous as a monster, seeing that he was ultimately responsible for the deaths of so many innocent humans, but loved animals, so how important is it that we show the good and bad natures of our characters, antagonists and protagonists as the world is no longer black and white but murky grey?

Q         What about the good guys that appear in the genre, how important is to ensure they have dark sides to their nature, and not totally good-two  shoes types, so there is cross-over to the amoral anti-hero? Or is there legitimacy in have all characters with good and bad, and the hero is the one who is least bad?

Q         What happens when a writer / creator feels perhaps their anti-hero has crossed the line between the fantasy world and become a tool for the mentally unstable in the real world? Does the writer creator have a duty to society to keep the amorality behind a line? [Examples being Stephen King withdrawing RAGE, an early book published under his name   Richard Bachman which allegedly was linked to some school kidnappings  / shootings, Stanley Kubrick withdrawing A CLOCKWORK ORANGE in the UK as it allegedly inspired anti-social gang violence as some youths  copied Alex and the Droogs, now available again following Kubrick’s death, and more recently the BATMAN massacre in Denver], so what responsibility does the writer / creator have when walking the morality line?

As a coda to that question / discussion point, I’d bring out the anecdote / dilemma that British Composer Clint Mansell faced when that Norwegian nutter Anders Behring Breivik admitted in having the score from Darren Aronofsky’s REQUIEM FOR A DREAM [based on a novel by Hubert Selby Jnr] ‘Lux Aeterna’ playing on full volume, and on shuffle-repeat on his IPod as he killed the young people on the Norwegian island.


He said at the trial “In addition, I will put my iPod on max volume as a tool to suppress fear if needed. I might just put Lux Aeterna by Clint Mansell on repeat as it is an incredibly powerful song. The combination of these factors (when added on top of intense training, simulation, superior armour and weaponry) basically turns you into an extremely focused and deadly force, a one-man-army.”

Q         Can you go too far in having amoral heroes in novels or cinema of the extreme, for example has anyone here seen the very disturbing ‘A SERBIAN FILM’? [show of hands please], where the lead character is a male ex-porn actor, basically a decent man, forced into some unspeakable acts and acts of extreme sexual violence. I’m never for agreeing with censorship, but that film disturbed me deeply, and is one that I think crosses the line. Have any of you, lines on your own value and moral system that you would not cross, or is any scared cow fair game?


Q         Is there a response to amorality by subversion? When Austrian Michael Haneke wrote and directed ‘FUNNY GAMES’ in 1997 [which was remade for US audiences a decade later], it was deeply shocking. I found it hard to watch. Haneke in an interview said that his film was in direct response to the laughter he heard from a teenage cinema audience when they viewed some of the random and amoral violence and death in Pulp Fiction. The teenage laughter chilled him, so in response, he made FUNNY GAMES, where the two psychopaths that terrorise and torture [and murder] the couple and their young son, are portrayed as charming, well dressed and their madness / amorality masked by their charm and joyful natures. We see that amorality is not funny, and the camera lingers over the violence and no one laughs.

            Other examples of subversion of morality could be Mario Puzo’s The Godfather, where the cops are corrupt while the mob appear to be the good guys in the neighborhood, or in ‘Mute Witness’ by Robert Fish which became Bullitt, or the Dirty Harry Movies the amoral [fascistic] cops are better than the politicians that should be our protectors - Care to comment about the subversion of morality?

Q         There seems to an issue with regard to the treatment of morality when viewed through the looking glass of different cultures, as some ‘things’ maybe palatable in one culture but not in another. A case in point is the amoral ‘hero’ such as Thomas Harris’ 1999 novel “Hannibal” which was lauded by the British / European critics while on the whole unappreciated in Harris’ native America, and Patricia Highsmith whose work especially the Tom Ripley novels were critically acclaimed in Europe but only after her passing did they become more than cult books in her native America, she even left the US for Norfolk and eventually Switzerland? Would you agree that an amoral hero is more accessible to a European sensibility than an American one?

Q         What fictional characters do you consider really special? And why are so many popular characters amoral with often sociopathic tendencies? Can you pick examples from the book world, as well as comics, films and tell us about the ones you most liked and perhaps influenced you eg -

            Examples being Silence of the Lambs with Clarice Starling, and the Dr Moriarty style villain with Dr Hannibal Lecter, Carol O'Connell's Kathleen Mallory, Larsson’s  Lisabeth Salander, Fleming’s James Bond, Richard Stark’s Parker, Highsmith’s Tom Ripley, David Morrell’s John Rambo and there are many more, not just in books, but comics, films eg Batman, Catwoman, The Joker, The Watchmen, Clint Eastwood’s Spaghetti Westerns, Dirty Harry, Bullitt, The Magnificent Seven, Any Tarantino movie, The Dirty Dozen, et al

            We had a lot of fun, and I do hope you explore the panelists’ work, because they plough    the amoral furrow well, because like in life, it rains on the just and unjust in equal measure.