Bike park…

…well, maybe not.
Quote of the Day
”Civilisation is a thin film across an ocean of chaos”.
- Werner Herzog
Musical alternative to the morning’s radio news
Ry Cooder and David Lindley | Jesus on the Mainline
My favourite recording of this particular number.
Long Read of the Day
Is 2026 going to turn out like 1999?
Fabulous blog post by Rory Cellan-Jones.
His answer to the question is: “Only if the market fails to come to its senses about SpaceX and Tesla”.
I am getting all nostalgic about 1999, the year when I first started paying somewhat obsessive attention to the share prices of technology companies, a habit which has endured to this day. As a BBC TV business reporter, watching the stock market had been part of my job for a decade by then, but this was different. In the US, and to a much smaller extent in the UK, companies suddenly needed to have one simple thing at the end of their name to send their shares rocketing – the suffix .com.
All the traditional ways of valuing a company had been blown away by the arrival of the Internet as a consumer proposition. Suddenly, you did not need profits or even substantial revenues to be a valuable business. You just needed eyeballs – in other words, an online audience whose attention you could monetise. It was an exhilarating time to be a journalist covering the startup scene, and eventually I got my first book, Dot Bomb, out of the experience.
As share prices grew and grew, the warnings from those who had been watching the stock market for longer than a couple of years got ever louder. But the true believers scoffed at these Cassandras, claiming they just didn’t get it – the “dot coms” were going to change the world and the old rules of investment did not apply.
And among those evangelists for the dot coms were many of the analysts at investment banks. Somehow, their lengthy reports on tech companies who were being wined and dined by another branch of the bank, always seemed to end with a “buy” recommendation.
Then, of course, in the Spring of 2000, it all went pop…
Rory used to be the BBC’s Technology correspondent and he wrote a terrific book about it. As someone labouring in the same vineyard, I used to marvel at the clarity and ‘unforcedness’ of his prose. He’s still doing it, which is why this perceptive view of the AI madness is well worth your time. In the end the laws of economic gravity applied in 1999. They still do now — but of course this is not investment advice, merely a recital of mundane common sense!
My commonplace booklet
My son and grandson were lucky enough to get tickets for the screening on Christopher Nolan’s take on the Odyssey at the weekend, and I wondered if I should feel envious. But then I read Armand D’Angour’s critical review of the film and wondered if I should just keep reading Emily WIlson’s translation.
Here’s a sample of his piece;
While the epic’s multiplicity runs deep, Christopher Nolan’s Odyssey is an action film, replete with unabashed violence. It is essentially designed to entertain a modern audience familiar with movies such as Lord of the Rings. There are some passing moral reflections about the decline of ‘civilisation’ and about the guilty conscience of a ruthless military leader, but these are brief moments, unconvincingly tacked on to the storyline. With its monstrous creatures and robotic foes, and its scenes of fighting, death and destruction, the film is almost uniformly grim and gory, set at a pitch of intensity that scarcely varies for nearly three hours, during which the heroes never seem to change out of their armour and crested helmets. There are no moments of lightness, humour, or laughter, and little room for comradeship, intimacy, or character development, even though the film begins, faithful to Homer, with young Telemachus’s quest to find his missing father. Nor, disappointingly, does the story feature any music or musicians: absent are the bards whose performances give the Odyssey its most self-referential moments, such as when Penelope demands that Phemius stop his ‘distressing song’ about a hero’s return, and when Odysseus weeps to hear his own story sung by Demodocus. In their place, an orchestral score is in turns sweepingly heroic and thuddingly percussive, interspersed with a few quieter, more sentimental moments (including in the Siren’s Song and the reunion scene with Penelope the unmistakeable sound of the piper Callum Armstrong’s sinuous aulos, ancient double pipes).
So maybe I’m looking in the wrong place. This isn’t Homer’s story at all, but Christopher Nolan’s. So maybe I should go to see it.
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