The Plight of Welsh Rugby

It being a rugby time of year, I thought I might once again cast my gaze over the world of rugby in general. Rugby is the sport I love, and the coming of professionalism has seen it become bigger, faster, and more of a spectacle than ever before. The game itself has, to my mind at least, greatly benefited from the coming of the professional age; but with professionalism comes money, and where there’s money there are problems.

Examples of how financial problems have ruined teams abound all over the world, from England (lead by the financial powerhouse of the RFU) to New Zealand (where player salary caps are, if I remember correctly, set at £50,000 to avoid bankrupting themselves). But the worst examples are to be found in Britain, specifically in Wales (and, to a lesser extent, Scotland).

Back in the day, Wales was the powerhouse of northern hemisphere rugby. Clubs like Bridgend, Pontypool and Llanelli, among others, churned out international-level stars at a quite astounding rate for such relatively small clubs. Amidst the valleys, rugby was a way of life, something that united whole communities who would turn out to watch their local clubs in fierce local derbies. And the results followed; despite England and France enjoying the benefit of far superior playing numbers, Wales were among the most successful sides in the then Five Nations Championship, Welsh sides were considered the major challenge for touring southern hemisphere sides, and the names of such Welsh greats as JPR Williams, Barry John, Phil Bennett and, most famous of the lot, Gareth Edwards, have resonated down the ages. Or at least the nostalgic rugby press tells me, since I wasn’t really in a position to notice at the time.

However, professionalism demands that clubs pay their players if they wish to keep hold of them, and that requires them to generate a not insignificant degree of income. Income requires fans, and more importantly a large number of fans who are willing and able to travel to games and pay good money for tickets and other paraphernalia, and this requires a team to be based in an area of sufficient population and wealth. This works best when clubs are based in and around large cities; but since rugby is a game centred around rolling around in a convenient acre of mud it does not always translate well to a city population. As such, many rugby heartlands tend to be fairly rural, and thus present major issues when considering a professional approach to the game. This was a major problem in Scotland; their greatest talent pool came from the borders region, home of such famous clubs as Melrose and Galashiels, but when the game went pro in 1995 the area only had a population of around 100,000 and was declining economically. For the SRU to try and support all their famous clubs would have been nigh-on impossible, since there are only so many potential fans to go around those many with proud rugby heritage in such a relatively small area, and to pick one club over another would have been a move far too dangerous to contemplate. So they opted for a regional model; here, the old clubs would form their own leagues to act as a talent pool for regional sides who would operate as big, centrally contracted, professional outfits. The idea was that everyone, regardless of their club of origin, would come together to back their region, the proud sum of its many parts; but in reality many consider regional sides to be rather soulless outfits without the heritage or locality to drum up support. In Scotland they formed four regions originally, but the Caledonia Reds (covering the vast, lowly populated area north of the major cities) were disbanded after just a season and the Border Reivers, sprung from Soctland’s rugby heartland, went in 2005 after poor results and worse attendances. Now only Edinburgh and Glasgow are left, doing what they can in places with all the money and none of the heritage.

Ireland also adopted the regional model, but there it was far less of a problem. Ireland (which for rugby purposes incorporates Northern Ireland as well) is a larger, more densely populated country than Scotland, and actually has four major cities to base its four regional sides in (Limerick, Galway, Belfast and Dublin, whose potential to grow into a rugby powerhouse, as the largest conurbation of people in Europe without a major football side, is huge). Not only that, but relatively few Irish clubs had garnered the fame and prestige of their fellow Celts, so the regions didn’t have so many heritage problems. And its shown; Ireland is now the most successful country in the Celtic League (or RaboDirect Pro12, to satisfy the sponsors), Leinster have won 3 Heineken Cups in 5 years, and just four years ago, the national side achieved their country’s second-ever Grand Slam.

But it was in Wales that rugby had the farthest to fall, and fall it did; without the financial, geographical and club structure advantages of England or the virgin potential of Ireland, Welsh fortunes have been topsy-turvy. Initially five regions were set up, but the Celtic Warriors folded after just a few seasons and left only four, covering the four south coast cities of Llanelli (Scarlets), Swansea (Ospreys), Newport (Dragons) and Cardiff. Unfortunately, these cities are not huge and are all very close to one another, giving them a small catchment area and very little sense of regional rivalry; since they are all, apparently, part of the same region. Their low population means the clubs struggle to support themselves from the city population, but without any sense of historic or community identity they find it even harder to build a dedicated fan base; and with the recent financial situation, with professional rugby living through its first depression as player wages continue to rise, these finances are getting stretched ever thinner.

Not only that, but all the old clubs, whilst they still exist, are losing out on the deal too. Whilst the prestige and heritage are still there, with the WRU’s and the rugby world’s collective focus on the regional teams’ top-level performance nobody cares about the clubs currently tussling it out in the Principality Premiership, and many of these communities have lost their connection with clubs that once very much belonged to the community. This loss of passion for the game on a local level may partly be inspired by the success of football clubs such as Swansea, enjoying an impressive degree of Premier League success. Many of these local clubs also have overspent in pursuit of success in the professional era, and with dwindling crowds this has come back to bite; some prestigious clubs have gone into administration and tumbled down the leagues, tarnishing a reputation and dignity that is, for some, the best thing they have left. Even the Welsh national team, so often a source of pride no matter what befalls the club game, has suffered over the last year, only recently breaking an eight-match losing streak that drew stark attention to the Welsh game’s ailing health.

The WRU can’t really win in this situation; it’s too invested in the regional model to scrap it without massive financial losses, and to try and invest in a club game would have stretch the region’s wallets even further than they are currently. And yet the regional model isn’t working brilliantly either, failing to regularly produce either the top-quality games that such a proud rugby nation deserves or sufficient money to support the game. Wales’ economic situation, in terms of population and overall wealth, is simply not ideally suited to the excesses of professional sport, and the game is suffering as a result. And there’s just about nothing the WRU can do about it, except to just keep on pushing and hoping that their regions will gather loyalty, prestige and (most importantly) cash in due time. Maybe the introduction of an IRB-enforced universal salary cap, an idea I have long supported, would help the Welsh, but it’s not a high-priority idea within the corridors of power. Let us just hope the situation somehow manages to resolve itself.

Advertisements

The Sting

I have twice before used this blog to foray into the strange world of film reviewing; something that I enjoy, given that I enjoy cinema, but am usually unable to make a stable source of material since I don’t generally have the time (or, given a lot of the films that get released in my local cinema, inclination) to see too many of them. My first foray was a rather rambling (and decidedly rubbish) examination of The Hunger Games, with a couple of nods to the general awesomeness of The Shawshank Redemption, whilst I felt compelled to write my second just to articulate my frustration after seeing The Dark Knight Rises. Today, I wish to return to the magical fairy kingdom of the big screen, this time concerning something that I would ordinarily have never seen at all; 70s crime flick ‘The Sting’

The Sting is quite clearly a film from another era of filmmaking; I am not old enough to remember the times when a stock ‘thump’ sound byte was inserted into the footage every time an object is put onto a table, but this film contains such cinematic anachronisms in spades. Similarly, this is the first film I have ever seen starring Robert Redford and my first from director George Roy Hill, but age should be no barrier to quality entertainment if it’s there to shine through and thankfully it’s basic plot and premise lend it to a graceful aging process.

The plot can be fairly summarily described as uncomplicated; a young confidence trickster who ends up accidentally making a small fortune from a fairly routine con is pursued by the mob boss whose money he has now lost, so teams up with an experienced ‘old head’ to bring him down. So Ocean’s Eleven with a simpler character base and more realistic motivations. Where the two differ, however, is in their dedication to their subject material; whilst the Ocean’s films are generally content to follow some rather formulaic Hollywood scriptwriting, placing their emphasis heavily on interpersonal relationships and love interests, The Sting goes out of its way to be a true crime story to its very core. Set in the golden age of organised crime (1930s prohibition-era Illinois, real-life home of Al Capone) with a memorable ragtime soundtrack to match, every stage (illustrated explicitly through the use of old-fashioned title cards) of the film’s overarching ‘big con’ plot takes the form of a classic confidence trick, from an old-fashioned money switch to a large-scale rigged betting house, incorporating along the way possibly the finest played (and cheated) game of poker ever to appear on screen. Every feature, facet and subplot from the cheated cop to the seemingly out-of-place love interest all has its place in the big con, and there was nothing there that didn’t have a very good reason to be. Not only did this create a rollercoaster of a focused, central plot without unnecessary distractions, but the authenticity of the tricks, characters and terminology used built a believable, compelling world to immerse oneself in and enjoy. Combine that with a truly stellar portrayal of the seen-it-all genius conman Henry Gondorff by Paul Newman, and Robert Redford’s evident gift for building a very real, believable character in the form of naive youngster Johnny Hooker, and we have the makings of an incredibly immersive story that you often have to remind yourself isn’t actually real.

However, by putting such focus on its central con, The Sting puts itself under an awful lot of pressure, for without any extraneous components (hell, there aren’t even any proper action scenes, despite the not infrequent bouts of gunfire) it has got nowhere to fall if its central plot fails. Thus, the success of the film very much rests on the success of the con it centres around, not just in terms of execution itself but in making its execution fit its style. The Sting is not about coming up with something on the fly, about something unexpected coming up and winning through on the day- it is an homage to planning, to the skill of the con, of hooking in the mark and making them think they’ve won, before turning the ace in the hole. To turn successful planning, what was intended to happen happening, into compelling drama is a task indeed for a filmmaker.

And yet, despite all the odds, The Sting pulls it off, thanks to the extraordinary depth director Hill packs into his seemingly simplistic plot. Each subplot put into play is like adding another dot to the puzzle, and it is left to the viewer to try and join them all to formulate the finished picture- or alternatively watch to see the film do so all with staggering aplomb. Every element is laid out on the table, everyone can see the cards, and it’s simply a matter of the film being far smarter than you are in revealing how it pulls its trick, just like a conman and his mark. You, the viewer, have been stung just as much as Robert Shaw’s mob boss of a mark, except that you can walk out of the room with your wallet full and a smile on your face.

This is not to say that the film doesn’t have problems. Whilst the basic premise is simple and well-executed enough to be bulletproof, its ‘setup’ phase (as the title cards called it) spends an awful lot of time on world-, scenario- and character-building, filling the early parts of the film with enough exposition to make me feel decidedly lukewarm about it- it’s all necessary to remove plot holes and to build the wonderful air of depth and authenticity, but something about its execution strikes me as clunky. It also suffers Inception’s problem of being potentially confusing to anyone not keeping a very close track of what’s going on, and one or two of the minor characters suffer from having enough of a role to be significant but not enough characterisation to seem especially real. That said, this film won seven Oscars for a reason, and regardless of how slow it may seem to begin with, it’s definitely worth sticking it out to the end. I can promise you it will be worth it.

Today

Today, as very few of you will I’m sure be aware (hey, I wasn’t until a few minutes ago) is World Mental Health Day. I have touched on my own personal experiences of mental health problems before, having spent the last few years suffering from depression, but I feel today is a suitably appropriate time to bring it up again, because this is an issue that, in the modern world, cannot be talked about enough.

Y’see, conservative estimates claim at least 1 in 4 of us will suffer from a mental health problem at some point in our lives, be it a relatively temporary one such as post-natal depression or a lifelong battle with the likes of manic depressive disorder or schizophrenia. Mental health is also in the top five biggest killers in the developed world, through a mixture of suicide, drug usage, self-harming or self-negligence, and as such there is next to zero chance that you will go through your life without somebody you know very closely suffering or even dying as a result of what’s going on in their upstairs. If mental health disorders were a disease in the traditional sense, this would be labelled a red alert, emergency level pandemic.

However, despite the prevalence and danger associated with mental health, the majority of sufferers do so in silence. Some have argued that the two correlate due to the mindset of sufferers, but this claim does not change the fact 9 out of 10 people suffering from a mental health problem say that they feel a degree of social stigma and discrimination against their disability (and yes that description is appropriate; a damaged mind is surely just as debilitating, if not more so, than a damaged body), and this prevents them from coming out to their friends about their suffering.

The reason for this is an all too human one; we humans rely heavily, perhaps more so than any other species, on our sense of sight to formulate our mental picture of the world around us, from the obviously there to the unsaid subtext. We are, therefore, easily able to identify with and relate to physical injuries and obvious behaviours that suggest something is ‘broken’ with another’s body and general being, and that they are injured or disabled is clear to us. However, a mental problem is confined to the unseen recesses of our brain, hiding away from the physical world and making it hard for us to identify with as a problem. We may see people acting down a lot, hanging their head and giving other hints through their body language that something’s up, but everybody looks that way from time to time and it is generally considered a regrettable but normal part of being human. If we see someone acting like that every day, our sympathy for what we perceive as a short-term issue may often turn into annoyance that people aren’t resolving it, creating a sense that they are in the wrong for being so unhappy the whole time and not taking a positive outlook on life.

Then we must also consider the fact that mental health problems tend to place a lot of emphasis on the self, rather than one’s surroundings. With a physical disability, such as a broken leg, the source of our problems, and our worry, is centred on the physical world around us; how can I get up that flight of stairs, will I be able to keep up with everyone, what if I slip or get knocked over, and so on. However, when one suffers from depression, anxiety or whatever, the source of our worry is generally to do with our own personal failings or problems, and less on the world around us. We might continually beat ourselves up over the most microscopic of failings and tell ourselves that we’re not good enough, or be filled by an overbearing, unidentifiable sense of dread that we can only identify as emanating from within ourselves. Thus, when suffering from mental issues we tend to focus our attention inwards, creating a barrier between our suffering and the outside world and making it hard to break through the wall and let others know of our suffering.

All this creates an environment surrounding mental health that it is a subject not to be broached in general conversation, that it just doesn’t get talked about; not so much because it is a taboo of any kind but more due to a sense that it will not fit into the real world that well. This is even a problem in the environment of counselling  specifically designed to try and address such issues, as people are naturally reluctant to let it out or even to ‘give in’ and admit there is something wrong. Many people who take a break from counselling, me included, confident that we’ve come a long way towards solving our various issues, are for this reason resistive to the idea of going back if things take a turn for the worse again.

And it’s not as simple as making people go to counselling either, because quite frequently that’s not the answer. For some people, they go to the wrong place and find their counsellor is not good at relating to and helping them; others may need medication or some such rather than words to get them through the worst times, and for others counselling just plain doesn’t work. But this does not detract from the fact that no mental health condition in no person, however serious, is so bad as to be untreatable, and the best treatment I’ve ever found for my depression has been those moments when people are just nice to me, and make me feel like I belong.

This then, is the two-part message of today, of World Mental Health Day, and of every day and every person across the world; if you have a mental health problem, talk. Get it out there, let people know. Tell your friends, tell your family, find a therapist and tell them, but break the walls of your own mental imprisonment and let the message out. This is not something that should be forever bottled up inside us.

And for the rest of you, those of us who do not suffer or are not at the moment, your task is perhaps even more important; be there. Be prepared to hear that someone has a mental health problem, be ready to offer them support, a shoulder to lean on, but most importantly, just be a nice human being. Share a little love wherever and to whoever you can, and help to make the world a better place for every silent sufferer out there.

Copyright Quirks

This post is set to follow on from my earlier one on the subject of copyright law and its origins. However, just understanding the existence of copyright law does not necessarily premeditate the understanding of the various complications, quirks and intricacies that get people quite so angry about it- so today I want to explore a few of these features that get people so annoyed, and explain why and how they came to be.

For starters, it is not in the public interest for material to stay forever copyrighted, for the simple reason that stuff is always more valuable if freely in the public domain as it is more accessible for the majority. If we consider a technological innovation or invention, restricting its production solely to the inventor leaves them free to charge pretty much what they like, since they have no competition to compete with. Not only does this give them an undesirable monopoly, it also restricts that invention from being best used on a large scale, particularly if it is something like a drug or medicine. Therefore, whilst a copyright obviously has to exist in order to stimulate the creation of new stuff, allowing it to last forever is just asking for trouble, which is why copyrights generally have expiry times. The length of a copyright’s life varies depending on a product- for authors it generally lasts for their lifetime plus a period of around 70 years or so to allow their family to profit from it (expired copyright is the reason that old books can be bought for next to nothing in digital form these days, as they cost nothing to produce). For physical products and, strangely, music, the grace period is generally both fixed and shorter (and dependent on the country concerned), and for drugs and pharmaceuticals it is just ten years (drugs companies are corrupt and profit-obsessed enough without giving them too long to rake in the cash).

Then, we encounter the fact that a copyright also represents a valuable commodity, and thus something that can potentially be put up for sale. You might think that allowing this sort of thing to go on is wrong and is only going to cause problems, but it is often necessary. Consider somebody who owns the rights to a book, and wants someone to make a film out of it, partly because they may be up for a cut of the profits and will gain money from the sale of their rights, but also because it represents a massive advertisement for their product. They, therefore, want to be able to sell part of the whole ‘right to publish’ idea to a film studio who can do the job for them, and any law prohibiting this is just pissing everybody off and preventing a good film from potentially being made. The same thing could apply to a struggling company who owns some valuable copyright to a product; the ability to sell it not only offers them the opportunity to make a bit of money to cover their losses, but also means that the product is more likely to stay on the free market and continue being produced by whoever bought the rights. It is for this reason legal for copyright to be traded between various different people or groups to varying degrees, although the law does allow the original owner to cancel any permanent trade after 35 years if they want to do something with the property.

And what about the issue of who is responsible for a work at all?  One might say that it is simply the work of the author/inventor concerned, but things are often not that simple. For one thing, innovations are often the result of work by a team of people and to restrict the copyright to any one of them would surely be unfair. For another, what if, say, the discovery of a new medical treatment came about because the scientist responsible was paid to do so, and given all the necessary equipment and personnel, by a company. Without corporate support, the discovery could never have been made, so surely that company is just as much legally entitled to the copyright as the individual responsible? This is legally known as ‘work made for hire’, and the copyright in this scenario is the property of the company rather than the individual, lasting for a fixed period (70 years in the US) since the company involved is unlikely to ‘die’ in quite the same predictable lifespan of a human being, and is unlikely to have any relatives for the copyright to benefit afterwards. It is for this reason also that companies, rather than just people, are allowed to hold copyright.

All of these quirks of law are undoubtedly necessary to try and be at least relatively fair to all concerned, but they are responsible for most of the arguments currently put about pertaining to ‘why copyright law is %&*$ed up’. The correct length of a copyright for various different stuff is always up for debate, whether it be musicians who want them to get longer (Paul McCartney made some complaints about this a few years ago), critics who want corporate ones to get shorter, or morons who want to get rid of them altogether (they generally mean well, but anarchistic principles today don’t either a) work very well or b) attract support likely to get them taken seriously). The sale of copyright angers a lot of people, particularly film critics- sales of the film rights for stuff like comic book characters generally include a clause requiring the studio to give it back if they don’t do anything with it for a few years. This has resulted in a lot of very badly-made films over the years which continue to be published solely because the relevant studio don’t want to give back for free a valuable commodity that still might have a few thousand dollars to be squeezed out of it (basically, blame copyright law for the new Spiderman film). The fact that both corporations and individuals can both have a right to the ownership of a product (and even the idea that a company can claim responsibility for the creation of something) has resulted in countless massive lawsuits over the years, almost invariably won by the biggest publishing company, and has created an image of game developers/musicians/artists being downtrodden by big business that is often used as justification by internet pirates. Not that the image is inaccurate or anything, but very few companies appear to realise that this is why there is such an undercurrent of sympathy for piracy on the internet and why their attempts to attack it through law have met with quite such a vitriolic response (as well as being poorly-worded and not thought out properly).

So… yeah, that’s pretty much copyright, or at least why it exists and people get annoyed about it. There are a lot of features concerning copyright law that people don’t like, and I’d be the last to say that it couldn’t do with a bit of bringing up to date- but it’s all there for a reason and it’s not just there because suit-clad stereotypes are lighting hundred dollar cigars off the arse of the rest of us. So please, when arguing about it, don’t suggest anything should just go without thinking of why it’s there in the first place.