Connections

History is a funny old business; an endless mix of overlapping threads, intermingling stories and repeating patterns that makes fascinating study for anyone who knows where to look. However, the part of it that I enjoy most involves taking the longitudinal view on things, linking two seemingly innocuous, or at least totally unrelated, events and following the trail of breadcrumbs that allow the two to connect. Things get even more interesting when the relationship is causal, so today I am going to follow the trail of one of my favourite little stories; how a single storm was, in the long run, responsible for the Industrial revolution. Especially surprising given that the storm in question occurred in 1064.

This particular storm occurred in the English Channel, and doubtless blew many ships off course, including one that had left from the English port of Bosham (opposite the Isle of Wight). Records don’t say why the ship was making its journey, but what was definitely significant was its passenger; Harold Godwinson, Earl of Wessex and possibly the most powerful person in the country after King Edward the Confessor. He landed (although that might be overstating the dignity and intention of the process) at Ponthieu, in northern France, and was captured by the local count, who subsequently turned him over to his liege when he, with his famed temper, heard of his visitor: the liege in question was Duke William of Normandy, or ‘William the Bastard’ as he was also known (he was the illegitimate son of the old duke and a tanner). Harold’s next move was (apparently) to accompany his captor to a battle just up the road in Brittany. He then tried to negotiate his freedom, which William accepted, on the condition that he swear an oath to him that, were the childless King Edward to die, he would support William’s claim to the throne (England at the time operated a sort of elective monarchy, where prospective candidates were chosen by a council of nobles known as the Witengamot). According to the Bayeux tapestry, Harold took this oath and left France; but two years later King Edward fell into a coma. With his last moment of consciousness before what was surely an unpleasant death, he apparently gestured to Harold, standing by his bedside. This was taken by Harold, and the Witengamot, as a sign of appointing a successor, and Harold accepted the throne. This understandably infuriated William, who considered this a violation of his oath, and subsequently invaded England. His timing of this coincided with another distant cousin, Harald Hardrada of Norway, deciding to push his claim to the throne, and in the resulting chaos William came to the fore. He became William the Conqueror, and the Normans controlled England for the next several hundred years.

One of the things that the Norman’s brought with them was a newfound view on religion; England was already Christian, but their respective Church’s views on certain subjects differed slightly. One such subject was serfdom, a form of slavery that was very popular among the feudal lords of the time. Serfs were basically slaves, in that they could be bought or sold as commodities; they were legally bound to the land they worked, and were thus traded and owned by the feudal lords who owned the land. In some countries, it was not unusual for one’s lord to change overnight after a drunken card game; Leo Tolstoy lost most of his land in just such an incident, but that’s another story. It was not a good existence for a serf, completely devoid of any form of freedom, but for a feudal lord it was great; cheap, guaranteed labour and thus income from one’s land, and no real risks concerned. However the Norman church’s interpretation of Christianity was morally opposed to the idea, and began to trade serfs for free peasants as a form of agricultural labour. A free peasant was not tied to the land but rented it from his liege, along with the right to use various pieces of land & equipment; the feudal lord still had income, but if he wanted goods from his land he had to pay for it from his peasants, and there were limits on the control he had over them. If a peasant so wished, he could pack up and move to London or wherever, or to join a ship; whatever he wanted in his quest to make his fortune. The vast majority were never faced with this choice as a reasonable idea, but the principle was important- a later Norman king, Henry I, also reorganised the legal system and introduced the role of sheriff, producing a society based around something almost resembling justice.

[It is worth noting that the very last serfs were not freed until the reign of Queen Elizabeth in the 1500s, and that subsequent British generations during the 18th century had absolutely no problem with trading in black slaves, but they justified that partly by never actually seeing the slaves and partly by taking the view that the black people weren’t proper humans anyway. We can be disgusting creatures]

A third Norman king further enhanced this concept of justice, even if completely by accident. King John was the younger brother of inexplicable national hero King Richard I, aka Richard the Lionheart or Couer-de-Lion (seriously, the dude was a Frenchman who visited England twice, both to raise money for his military campaigns, and later levied the largest ransom in history on his people when he had to be released by the Holy Roman Emperor- how he came to national prominence I will never know), and John was unpopular. He levied heavy taxes on his people to pay for costly and invariably unsuccessful military campaigns, and whilst various incarnations of Robin Hood have made him seem a lot more malevolent than he probably was, he was not a good King. He was also harsh to his people, and successfully pissed off peasant and noble alike; eventually the Norman Barons presented John with an ultimatum to limit his power, and restore some of theirs. However, the wording of the document also granted some basic and fundamental rights to the common people as well; this document was known as the Magna Carta; one of the most important legal documents in history, and arguably the cornerstone in the temple of western democracy.

The long-term ramifacations of this were huge; numerous wars were fought over the power it gave the nobility in the coming centuries, and Henry II (9 years old when he took over from father John) was eventually forced to call the first parliament; which, crucially, featured both barons (the noblemen, in what would soon become the House of Lords) and burghers (administrative leaders and representatives of the cities & commoners, in the House of Commons). The Black Death (which wiped out most of the peasant population and thus raised the value of the few who were left) greatly increased the value and importance of peasants across Europe for purely economic reasons for a few years, but over the next few centuries multiple generations of kings in several countries would slowly return things to the old ways, with them on top and their nobles kept subservient. In countries such as France, a nobleman got himself power, rank, influence and wealth by getting into bed with the king (in the cases of some ambitious noblewomen, quite literally); but in England the existence of a Parliament meant that no matter how much the king’s power increased through the reign of Plantagenets, Tudors and Stuarts, the gentry had some form of national power and community- and that the people were, to some nominal degree, represented as well. This in turn meant that it became not uncommon for the nobility and high-ranking (or at least rich) ordinary people to come into contact, and created a very fluid class system. Whilst in France a middle class businessman was looked on with disdain by the lords, in Britain he would be far more likely to be offered a peerage; nowadays the practice is considered undemocratic, but this was the cutting edge of societal advancement several hundred years ago. It was this ‘lower’ class of gentry, comprising the likes of John Hampden and Oliver Cromwell, who would precipitate the English Civil War as King Charles I tried to rule without Parliament altogether (as opposed to his predecessors  who merely chose to not listen to them a lot of the time); when the monarchy was restored (after several years of bloodshed and puritan brutality at the hands of Cromwell’s New Model Army, and a seemingly paradoxical few decades spent with Cromwell governing with only a token parliament, when he used them at all), parliament was the political force in Britain. When James II once again tried his dad’s tactic of proclaiming himself god-sent ruler whom all should respect unquestioningly, Parliament’s response was to invite the Dutch King William of Orange over to replace James and become William III, which he duly did. Throughout the reign of the remaining Stuarts and the Hanoverian monarchs (George I to Queen Victoria), the power of the monarch became steadily more and more ceremonial as the two key political factions of the day, the Whigs (later to become the Liberal, and subsequently Liberal Democrat, Party) and the Tories (as today’s Conservative Party is still known) slugged it out for control of Parliament, the newly created role of ‘First Lord of the Treasury’ (or Prime Minister- the job wasn’t regularly selected from among the commons for another century or so) and, eventually, the country. This brought political stability, and it brought about the foundations of modern democracy.

But I’m getting ahead of myself; what does this have to do with the Industrial Revolution? Well, we can partly blame the political and financial stability at the time, enabling corporations and big business to operate simply and effectively among ambitious individuals wishing to exploit potential; but I think that the key reason it occurred has to do with those ambitious people themselves. In Eastern Europe & Russia, in particular, there were two classes of people; nobility who were simply content to scheme and enjoy their power, and the masses of illiterate serfs. In most of Western Europe, there was a growing middle class, but the monarchy and nobility were united in keeping them under their thumb and preventing them from making any serious impact on the world. The French got a bloodthirsty revolution and political chaos as an added bonus, whilst the Russians waited for another century to finally get sufficiently pissed of at the Czar to precipitate a communist revolution. In Britain, however, there were no serfs, and corporations were built from the middle classes. These people’s primary concerns wasn’t rank or long-running feuds, disagreements over land or who was sleeping with the king; they wanted to make money, and would do so by every means at their disposal. This was an environment ripe for entrepreneurism, for an idea worth thousands to take the world by storm, and they did so with relish. The likes of Arkwright, Stephenson and Watt came from the middle classes and were backed by middle class industry, and the rest of Britain came along for the ride as Britain’s coincidentally vast coal resources were put to good use in powering the change. Per capita income, population and living standards all soared, and despite the horrors that an age of unregulated industry certainly wrought on its populace, it was this period of unprecedented change that was the vital step in the formation of the world as we know it today. And to think that all this can be traced, through centuries of political change, to the genes of uselessness that would later become King John crossing the channel after one unfortunate shipwreck…

And apologies, this post ended up being a lot longer than I intended it to be

The Interesting Instrument

Music has been called the greatest thing that humans do; some are of the opinion that it, even if only in the form of songs sung around the campfire, it is the oldest example of human art. However, whilst a huge amount of music’s effect and impact can be put down to the way it is interpreted by our ears and brain (I once listened to a song comprised entirely of various elements of urban sound, each individually recorded by separate microphones and each made louder or softer in order to create a tune), to create new music and allow ourselves true creative freedom over the sounds we make requires us to make and play instruments of various kinds. And, of all the myriad of different musical instruments humankind has developed, honed and used to make prettyful noises down the years, perhaps none is as interesting to consider as the oldest and most conceptually abstract of the lot; the human voice.

To those of us not part of the musical fraternity, the idea of the voice being considered an instrument at all is a very odd one; it is used most of the time simply to communicate, and is thus perhaps unique among instruments in that its primary function is not musical. However, to consider a voice as merely an addition to a piece of music rather than being an instrumental part of it is to dismiss its importance to the sound of the piece, and as such it must be considered one by any composer or songwriter looking to produce something coherent. It is also an incredibly diverse tool at a musician’s disposal; capable of a large range of notes anyway in a competent singer, by combining the voices of different people one can produce a tonal range rivalled only by the piano, and making it the only instrument regularly used as the sole component of a musical entity (ie in a choir). Admittedly, not using it in conjunction with other instruments does rather limit what it can do without looking really stupid, but it is nonetheless a quite amazingly versatile musical tool.

The voice also has a huge advantage over every other instrument in that absolutely anyone can ‘play’ it; even people who self-confessedly ‘can’t sing’ may still find themselves mumbling their favourite tune in the shower or singing along with their iPod occasionally. Not only that, but it is the only instrument that does not require any tool in addition to the body in order to play, meaning it is carried with everyone absolutely everywhere, thus giving everybody listening to a piece of music a direct connection to it; they can sing, mumble, or even just hum along. Not only is this a wet dream from a marketer’s perspective, enabling word-of-mouth spread to increase its efficiency exponentially, but it also makes live music that other level more awesome (imagine a music festival without thousands of screaming fans belting out the lyrics) and just makes music that much more compelling and, indeed, human to listen to.

However, the main artistic reason for the fundamental musical importance of the voice has more to do with what it can convey- but to adequately explain this, I’m going to need to go off on a quite staggeringly over-optimistic detour as I try to explain, in under 500 words, the artistic point of music. Right, here we go…:

Music is, fundamentally, an art form, and thus (to a purist at least) can be said to exist for no purpose other than its own existence, and for making the world a better place for those of us lucky enough to be in it. However, art in all its forms is now an incredibly large field with literally millions of practitioners across the world, so just making something people find pretty doesn’t really cut it any more. This is why some extraordinarily gifted painters can draw something next to perfectly photo-realistic and make a couple of grand from it, whilst Damien Hirst can put a shark in some formaldehyde and sell it for a few million. What people are really interested in buying, especially when it comes to ‘modern’ art, is not the quality of brushwork or prettifulness of the final result (which are fairly common nowadays), but its meaning, its significance, what it is trying to convey; the story, theatre and uniqueness behind it all (far rarer commodities that, thanks to the simple economic law of supply and demand, are thus much more expensive).

(NB: This is not to say that I don’t think the kind of people who buy Tracy Emin pieces are rather gullible and easily led, and apparently have far more money than they do tangible grip on reality- but that’s a discussion for another time, and this is certainly how they would justify their purchases)

Thus, the real challenge to any artist worth his salt is to try and create a piece that has meaning, symbolism, and some form of emotion; and this applies to every artistic field, be it film, literature, paintings, videogames (yes, I am on that side of the argument) or, to try and wrench this post back on-topic, music. The true beauty and artistic skill of music, the key to what makes those songs that transcend mere music alone so special, lies in giving a song emotion and meaning, and in this function the voice is the perfect instrument. Other instruments can produce sweet, tortured strains capable of playing the heart strings like a violin, but virtue of being able to produce those tones in the form of language, capable of delivering an explicit message to redouble the effect of the emotional one, a song can take on another level of depth, meaning and artistry. A voice may not be the only way to make your song explicitly mean something, and quite often it’s not used in such an artistic capacity at all; but when it is used properly, it can be mighty, mighty effective.