Idle Eye 145 : The Guinea Pig Bridge

Last week, my friend Philippa sent me an internet link all the way from Australia. It led me to a short YouTube clip, showcasing a bunch of guinea pigs running with glee across a roughly-hewn wooden flyover towards an unknown bunker somewhere inside the Nagasaki Bio Park in Japan. And all to an impossibly infectious soundtrack penned by American pet songsmith maestro, Parry Gripp. Sample lyric:

Guinea Pig Bridge…
Guinea Pig Bridge…
Transporting guinea pigs
From Point A to Point B,
Utilising the latest
Guinea Pig Bridge technology,
Conveniently and safely

When I say sample, I do actually mean the whole shooting match. It is so astonishingly brief, it demands at least another watch (or in my case, a fiftieth). But let us examine this in detail:

At the outset, Gripp infers that the bridge in question is responsible for the conveyance of said critters to their port of call. However, on closer inspection, it soon becomes apparent they are doing the bulk of the work themselves, the bridge being a mere conduit, implemented in order to achieve their travel objective. Given the paucity of time Gripp has available to get his message across, it does seem somewhat duplicitous to throw in what is tantamount to a lie in the first twenty seconds, but fortunately any such misgivings are short-lived: All is beautifully resolved in the second half.

In one of the most succinct circumnavigations of Building Control ever to grace popular song, Gripp signs off his work with a disclaimer: If the powers that be have any issues at all as to potential occupational transit hazards, engineering/architectural standards or a practical yet compliant end user experience, they are conclusively put to bed in just three lines. The absurd suggestion that outmoded guinea pig bridge technology could possibly be employed here is tackled head on, leaving no room whatsoever for manoeuvre. It is a triumph, and Gripp knows it. And with that it’s all over, leaving us with the keyboard hook as outro and a gentle fade on a brown furry bottom, heading majestically towards the horizon in true Hollywood Western stylee. It is quite unlike anything I have ever seen.

Remember that 1990s ad for Tango? When the pop drinker was repeatedly slapped in the face by an imaginary orange buddha, hinting that a massive taste explosion could only be properly enjoyed if you were up for having another look in slo-mo? Well, this is the latter-day equivalent. You simply can’t not watch it again, if for nothing else than to try and figure out what’s going on. And thereby lies the genius: In our post-MTV, attention-bereft times, the money shot has to be spent and out of the building before we’ve taken our first breath. So we click back to the start and give it a second go, and before you know it, Gripp is the new Hitchcock. And that’s as it should be.

Idle Eye 79 : The Ashes

In the summer of 1992, I wrote a song for a young lady I was rather keen on who had returned to Australia, never to revisit to these shores. I was in my twenties, addicted to the romantic impossibility of the situation and, no doubt, getting off on its Byronic agony. The song was called ‘The Ashes’, and it allowed me the juxtaposition of an obvious cricketing analogy with what it might have been like to scatter the metaphorical chattels of our torn relationship across her homeland. I finished it with this:

Take back the Ashes, Jane
Cup them in your hands
Throw them in the face of my jealousy
and out across your land
And when the dust comes down again
blackened by the English rain
A hundred thousand miles will disappear
I can see it all from here…

I bring this up because yesterday Nibs, myself and my two sisters did the real thing. Not with the subject of the above, I hasten to add: I gather she is alive and well and enjoying life to the hilt. No, this was with the earthly remains of our father, who made it back to his cherished home inside a rather fetching purple box. Together with a neatly typed tag stating the exact moment of his departure: I think he would have approved.

It was one of life’s stranger moments, carrying around what was left of the man responsible for putting us on the planet as if we were sticking him out for the recycling. Which, in a curious way, I suppose we were. And, during the memorial service, the vicar bigged up his love of animals and suggested we scatter his beloved dog, Annie (who was in a carrier bag at the top of the stairs) at the same time. Sort of a BOGOF deal, I guess. So, fuelled by a bottle of 1990 Dom Perignon, we charged a small trinket with bits of dog and bits of Dad and threw them out across the Welsh valley that was the commanding view from his garden. Everyone had a go, said a quick goodbye and then we poured what was left into the brook that ran through it. It felt right and proper, particularly after a few more sherbets.

Now, alcohol and cremated fathers are traditionally not the most comfortable of bedfellows although, God knows, we did our best. Perhaps if we had known there was an incoming wind, we may have chosen our moment more carefully: We did not. Perhaps he was reluctant to leave: We ignored this. Let’s just say that to the outside eye, when the bags were empty and we sat together enjoying fine wine and nibbles, it must have looked like an Egyptologist’s lunch break. So bless you, Dad, you pretty much got what you wanted: 80% back to nature, 20% stubborn stain. Excellent odds, I reckon, and certainly enough to get you through them gates. See you on the flipside xx