The sun again but the world will never

 Unlike almost exactly twenty-seven years previously, there wasn't a cloud in the sky when I clicked publish on my previous post with a still-weirdly-minstrel-adjacent white kid glove – (or is it a butler's hand? Is the cursor meant to be my servant's hand rather than an extension of my own? And should I still be using yellow-handed emojis even though everyone else seems now to have switched to their own flesh tone, just because yellow's the colour of the emoji's faces and I'd always assumed the hands belonged to the same guy? Did Harvey Ball ever stop to think what a storm of care he was seeding when he invented the smiley?

 

It looks like he might. Close brackets) – and so when I did indeed leave the laptop and race off to Brixton for the solar rematch, there was no filter this time to shield our glimpses. I use the first person plural because it felt so obviously communal, as it had in '99. And Iceland was still there, and Boots. And I realised as I revisited that intersection of Electric Avenue and Brixton Road where Fin and Jeremy had filmed each other at the last darkening, that this is also where I had Gabbie meet Martin in Time Spanner in 2016. Here's the trip to that spot as I try to desmear my phone.

 

 

 The sun had moved of course, it does that, and was now directly at the end of the road at almost eye level. At the end of every road facing west in fact, and the bus stop opposite Brighton Terrace at the stroke of seven gave you a dangerously uninterrupted view. I shielded my face with the phone, but the eclipse would only show up on my screen as a green crescent glare (see the thumbnail below). Those without special glasses also tried our luck with a reflection in the window of H&M. I wonder if the guy inside knew what we were doing, why so many of us were just standing there, staring into his shop, our backs to an event that wouldn't happen again for another sixty-four years. As I said, really the event was us looking at it though, so that's what I've cut together below.

 In other news, it is midnight in Highbury and finally raining.

 

The Delia Derbyshire of the Electronic Stomach

 

 

 Allow me to present these edited highlights of a tribute to the – apparently – thousands of sound effects artists required to bring a single episode of radio to life, according to this startlingly untrustworthy and increasingly Lynchian "Jam Handy Picture" from 1938 called, for some reason, Back of the Mike. Here are four men recreating the sound of a telephone:

 

 And here, over a decade before The Archers was first broadcast, is someone testily soothing a cow: 

 

 I was inspired to do some research into this subject by Margaret Cabourn-Smith's shining turn as The Goon Show's solo foley artist "Janet" in Spike, which I saw at the Richmond Theatre on Thursday with her husband Dan Tetsell who had just finished his own run on EastEnders, completing the BleakEnders trifecta...

 

 To save the kerfuffle of taking down bank details, I had given Dan two sleek tenners for the ticket – tenners aren't "crisp" any more, but is "sleek" the word? – which he then passed on to Mervyn Millar whom we met in the pub afterwards for tickets to My Neighbour Totoro at the Barbican. Mervyn in turn handed these on to Barry Cryer's son Bob who was the fourth at our table – I don't know for what, but it didn't matter, I'd really enjoyed the show and some pints and was now in the mood to find transactions like these immensely pleasing.* Here's the sound of a horse chase:

 

 I talked to Mervyn about how much I'd been considering recently the increasing popularity of puppets in theatre, because I figured he must have played a part in that, and I asked how he got started: Apparently his first puppet had been a judge, built because there simply hadn't been enough time for the actor he was directing to do the full quick change. Here's a rain storm:

 

Bob Cryer was lovely too, and talked about the passing of his father, and the slight oddness of grieving alongside a parasocial fan community (Ray Galton's son had suggested they team up with Rory Kinnear and Lucy Briers to form the "Sons Or Daughters Of Famous Fathers", or SODOFF.) I had a great time.

 

  Naturally Margaret ended the show doing the splits. More surprisingly, she opened it accidently knocking her enormous gramophone off a trolley. I was very happy to be sitting next to Dan for that – that's the joy of live theatre – and I was also very happy the show ended with a performance of 1985. The tour ends soon, and the final Richmond show is going up within an hour of me posting this so sorry for that, but go if you can. 

 What else did I enjoy about that night? The pub was giving out free dog biscuits. Eating those took me back. 

 Here's more research:

 

 

* UPDATE: Margaret has just informed me it was for a ticket to Spike. Perfect.

Emoji Theatre (1 of possibly more than 1)

 

I got a new old phone.