Eggbox

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Month: July 2008

Changing the Word

Half finished posts from the archives #2

Calculator. Computer. Software.

What do these three words have in common? Well, they all involve technology, but that’t not what I’m getting at. They all have the letter R in them? Again, it’s true, but not what I’m getting at. What about their meaings? Got it yet? How about I put it this way:

Caclulator – One who performs calculation. From “calculation” (n), which is from the late latin calculationem (n), which is in turn from the latin Calculare (v.).

Computer – One who counts or sums up. From the “Compute” (v.), meaning to count or sum up, from the latin Computare (v.).

Software – “woolen or cotton fabrics,” also, “relatively perishable consumer goods,” from soft (adj.) + ware (n.).

Events of Language

Sometimes, something happens which forever changes the meaning of a word. Of course, whole new words can be invented… but from time to time an existing word just goes through a midlife crisis and comes out of the end as something different entirely. Using the examples above, the events are easy to understand. “Calculator” switched from being a person who did a job to the tool they used around the time of the invention of the mechanical adding machine – the first recorded use is in 1784. The first use of the word with recognisably the same implications it now carries was in 1946. The first acknowledged switch of the word “Computer” from being a person to being a device for the same purposes was in 1897, referring to a mechanical calculating machine. The first use in the sense by which we now understand it was in 1937, and then only in a theoretical sense, referring to a Turing Machine. It was only in 1945 that the true modern meaning (“programmable digital electronic computer”) came to be. Software has an even stranger history – it’s a word that leapt in to being fully formed in 1960, and just happened to flatten another perfectly good word in the process. There’s no connection between the two meanings. The modern usage of the word is simply a way of saying computer related things that aren’t hard (adj.) + ware (n.). An opposite to hard was needed, and soft fitted the bill. The fact that prior to that point “software” meant cloth and preishable consumables rapidly became irrelevant.

World changes, word changes

In each case, the world had changed in a way that meant a word’s meaning was changed. There are plenty more words like this out there, and in each case, thinking of the words and how they came to be tells you something about a cultural or technological change. There are plenty of words that are in the process of making such transitions, or where extra meanings have been added, sometimes becoming the first thing that leaps to mind when you see them. For example, would you expect a film called “Alien” be about somebody who owes fealty to somebody in another country? Or about a strange visitor from another country? The usage implying extraterrestrial origin didn’t appear until the 1940s, and even then it was an adjective – an alien being or an alien device. “Alien” as a noun – “an alien” – didn’t appear until the mid 1950s. Then there’s the political and entymological football that is the word “gay”. Everyone knows it’s modern connotations, and most people understand the “happy and full of joy” meaning as well. But what about “brilliant and showy”, or (with the same pronunciation and derivation but a different spelling – gey) a tramp who sells himself when he has no other means to live. Or a young beggar who travels with an older beggar for tutelage? How about as an adjective implying promiscuity? That last meaning sounds like a modern use of the word, but actually dates back to the seventeenth century! The word itself has been the rope in a tug-o-war between legitimate use, euphemism, slang and empowering reclamation to the point where it’s become so charged as to be dangerous to use in polite society!

Sudden Upheavals

Most of the changes talked about beforehand are slow, gradualt evolutions. But sometimes it doesn’t work like that. For example, there used to a be word that meant “like a titan”, but doesn’t anymore. Well, technically it still does mean that, but in two hours on the night of the 14th and 15th of April 1912 the word came to mean something else. One “unsinkable” ship, one iceberg and a couple of unfortunate decisions… and the word “Titanic” can never be used to name a ship again. Disasters like this steal words from the language and it takes a long time to put them back… if it ever happens.

Out with the old…?

The majority of words that have had their meanings abruptly changed by the ever advancing world, though, are roles or job titles that have been replaced by tools to do those jobs. How long do we expect to wait before “shop-assistant” becomes a device of some kind? Have you been to Argos lately, and seen how the shop assistants role has dwindled to almost nothing. What about when you want to buy some music? How often do you ask the shop-assistant in the music store for recommendations these days? Or do you just look at what iTunes or last.fm recommends? How long until “manager” becomes the name of a piece of software that prioritises resources and facilitates the achievement of a function… no, wait – we’re already seeing software components that do just that, and are called managers. They’re not quite at the point of making decisions on their own yet, but in some people’s eyes that just makes the word fit even better…

Reference Materials

  • [url=http://www.etymonline.com/]Online Entymology Dictionary[/url]
  • [url=http://en.wikipedia.com/]The All Knowing Wikipedia[/url]

Fields of the Nephilim: Ad Vitam

Building Anticipation

Fields of the Nephilim are one of those bands that I thought I’d never get to see live. I first started to listen to their music around 1991, just after they’d split up. Since then there have been a few abortive attempts to revive them and a large number of ever fragmenting spin off bands, but it’s only in the last couple of years that it’s looked like one of these attempts might actually succeed. Of course, by this point there’s only one original member of the band left. Their most recent album at the time of writing, “Mourning Sun” (2005), was performed by singer Carl McCoy and what he refers to as “Ghost Musicians”. For the touring band, everyone else is new.

So when I was presented with an opportunity to go to one of these two shows (only their second and third UK gigs since the last album, if I recall correctly), I leapt at the chance. I’ll tell you now, I was not dissapointed. The queue outside the venue for Sunday’s gig, which was named “Ad Vitam” in a typically occult manner, seemed oddly subdued. It was quite a curious experience, seeing everyone around me dressed in either their trad-goth finery or the band’s signature goth cowboy look… whilst I was there in black combats and a black nepalese shirt.

I used to be able to pull off the goth look, and to be honest, I could probably still give a reasonable showing in the Nephilim look, but on short notice I just didn’t have the wardrobe for it. Besides, in the baking sun I didn’t really fancy having to lug around a heavy, weathered leather duster, or even wear the multiple layers that make the look work.

Support Act and Venue

When the doors opened, it became apparent that people who’d been for the previous night’s “Ad Mortem” gig knew that there would be an hour and a half between the doors opening and even the support act coming on. So there was a fair bit of standing around to do. Since I’ve never been particularly inclined towards throwing myself around at a gig (I’d call it dancing, but for me that’d be a real stretch), I aimed for my usual gig spot… as close to the sound or light desk as possible. There I lurked until “[url=”http://www.myspace.com/pythiamusic”]Pythia[/url]”, the support band, appeared on stage.

I’m not going to dwell on them particularly much – they were always going to be outclassed as a support act for Fields of the Nephilim, especially as they’re a bit of an odd match. They were reasonable, if not to my taste and a little derivative (Nightwish called – they want their act back). What I will say in their favour was that they had good stage presence and didn’t fall into the usual support band slot of performing like they’d been nailed to their spots on the stage. (as an aside, I’m also amused by their [url=”http://www.myspace.com/pythiamusic”]MySpace page[/url], simply by the band member photos down the left hand side.)

Once they left the stage, the venue started to get more and more crowded, and two things became apparent to me. One: Fields of the Nephilim fans are, on average, unnaturally tall. Two: The stage at the Shepherd’s Bush Empire is too low. It was rapidly becoming clear that I wasn’t going to have the best of views, which did make me wonder if perhaps I should have headed for the front after all. It seems that I’ve become too used to other venues where the view is at least passable throughout.

A Powerful Opening

It started quite quietly and quite subtly. I think a fair few people missed the first, plainitve cry from a distant harmonica, but when the rest of the audience picked up in sudden anticipation they certainly heard the second. Using samples from Ennio Morricone’s soundtrack from “Once Upon A Time In The West” ([url=”http://www.imdb.com/title/tt0064116/”]IMDB[/url]), The Harmonica Man is one of the most recognisable introductions you could ask for, and it immediately sets the tone for the gig. It immediately builds audience anticipation – they’re starting with a classic opening. Real, classic nephilim. The opening from their first album, in fact, which immediately puts to rest the idea that the band would only be playing newer material.

The fact that it lead straight into the instantly recognizable drumbeat of Preacherman practically sent the crowd into a frenzy. This is pure blooded goth-rock stomp, and it cements this gig as something special. At this point, my view of the bad isn’t too bad, provided I don’t want to see anything below the level of their chests… but the staging and lighting are good, so I don’t mind. I also know that my view is about to get worse. You see, where other bands have stage-divers, crowd-surfers and the like, Fields of the Nephilim have a long standing tradition of human pyramids.

Pyramid Schemes

Sure enough, it’s part way through Preacherman that they begin to form. Nothing serious yet – just a couple of people held up with their shins at chest height. You’d think that this would detract from the gig, particularly as it block my already poor view of the stage… but it actually does the exact opposite. It changes the atmosphere from one of passive entertainment into something special – the audience are as much a part of the event as the band on stage are. It sounds incredibly hackneyed, but seeing members of the audience lofted up into the air, stripped to the waist and just basking the music really is something special. In keeping with the band’s occult themes, the pyramids are like some form of ecstatic ritual for the audience. It’s powerful to watch and I have no doubt that it’s something even more for those involved.

Next, the band moved on to From The Fire, a song from what’s best described as an awkward period in their history. From the album “Fallen”, the outcome of an abortive reformation of several original members. The album was largely made up unfinished rough-cuts from the studio, although it does seem that this song was one of the more finished pieces. Here’s it really works, and it’s clearly had time to settle and become a much stronger track than it was on the album.

The song that followed it technically isn’t a Fields of the Nephilim song. Penetration is taken from Zoon, the album released by Nefilim – the band Carl McCoy formed after Fields originally split up. That said, it continues the ideas and feel, even if the musical style is very, very different. A much more brutal song from an album that’s often dismissed by fans of the original band. Personally, I quite like a lot of it… just for different reasons. The version they played here was quite different to that on the album – driven a lot more by a pounding bassline that really give it the kick it needs.

Classics, Old and New

Then we’re treated to Moonchild. Not only one of the band’s classic songs, but a personal favourite of mine as well. Again, the pyramids spring up, getting a little further each time. I think it was around here that I saw the first attempt at a third level. This attempt never quite made it, alas. Instead it broke apart and became several smaller pyramids. This was followed by Requiem XIII 33 and Xiberia, both from “Mourning Sun”. One slow, atmospheric song and one heavy, throbbing beast of a song. With any other band it would be strange that these two would sit together so well, but this kind of versatility is one of the things that make Fields of the Nephilim so memorable.

Special Treats

Next up was another pair of tracks, one classic and one rare treat. Dawnrazor followed immediately by The Sequel. Dawnrazor is, as far as I can tell, a staple of Fields of the Nephilim gigs. The Sequel, however, is rarely played live at all – which is a crying shame because it’s a fantastic song, and it was great to hear it belted out here. Musically it’s an oddly jaunty song, but the lyrics manage to bring across a message that mixes hope with menace.

Just when I thoug
ht it couldn’t get any better I hear yet another distinctive opening – the plaintive guitar solo that is the introduction to The Watchmen, another of my favourite songs. It’s another classic, and as ever, the crowd goes more than a little crazy when it steps up a gear after the first verse. Pyramids are still springing up all over the place, but all of a sudden there’s a frenzy of them.

End of the Set

It made sense to have the last song of the set be one of the newer songs, and they couldn’t have picked a better one than the fantastically triumphant “Mourning Sun”. I think it was around now that the successful three layer pyramid appeared, and it was a sight to behold with the guy up on the top throwing his arms wide and letting the atmosphere wash over him. Usually it’s a problem when you can’t see a thing at a gig, but for this one I really didn’t care – it was a fantastic gig anyway.

Encores

Unlike many bands, they made us wait quite a long time between main set and encore. Not quite long enough to doubt that there’d be one, but long enough that it was definately distinct from the main set. Many bands walk off stage and then thirty seconds later they’re playing again. The encore started off with another Nefilim song – Zoon III / Wakeworld, which was always one of the songs I’ve liked more from Zoon.

That was followed up by Last Exit For The Lost. I’ve never been a huge fan of Last Exit… or more accurately, I’m a fan of the last third of the song, when it picks up the pace and becomes a bit less dirgelike. Perhaps it was just the crowd’s enthusiasm getting to me, but this time around I even enjoyed the first part of the song. I’d have been happy if the gig had ended here, as the end of Last Exit… is a fantastic way to end a gig.

But that wasn’t the end.

The second encore brought us Celebrate. In some ways it’s an odd one to end on, being a resolutely downbeat song, but it’s also a very powerful one, expecially performed as it was here. It’s also a song about new beginnings. I’m hoping this is a new beginning for the band, and wont turn out to be another brief reappearance before another messy implosion. The gig came to a close with the band leaving the stage as the coda of the “Unsealed” version of the song was played over the PA.

To conclude

Overall, this was a hugely enjoyable gig. I’d given up hope of ever seeing Fields of the Nephilim play live, and even though this is a very different band to the classic lineup, the new musicians have really stepped up and do the songs justice. I’m very much looking forward to hearing more from them. I’ll even forgive them for playing nothing at all from “Elizium”.

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