My book The Victorian Planning System: Practice, Problems and Prospects is now available for pre-order.
My book Movie Towns and Sitcom Suburbs is out now through Palgrave Macmillan.
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RCI Planning is my consultancy providing expert advice, VCAT advocacy and statutory planning services in the Victorian planning system.
Monthly Archives: February 2011
This site has a page on facebook, which has for the past few months not been updating; it seems the import blog function simply doesn’t work (and nor does their bug-reporting system). However, with my post on Disney World this morning I have confirmed that my work-around (updating the page through Networked Blogs) is working. So if you find it convenient to receive page updates via facebook, you may want to give it another go.
As a companion to my photos of deserted Disneyland, here’s a selection of shots of the Magic Kingdom at Disney World. Once again, for a sense of why this might be interesting, I suggest you look at my post about Disneyland as an example of urban design.
As I suggest in that article, I don’t think the design of the Magic Kingdom is nearly as successful as the original Disneyland, although this is hard to fully convey in a series of photos. The architecture is grander and more show-offy, and hence more vulgar and less charming.
Noted film composer John Barry, best known for his work on the James Bond series, has died at age 77.
I’m not qualified to write a really full analysis of his non-Bond work. Jaime Weinman has a nice little appreciation here.
Because of his association with the Bond series, Barry is sometimes assumed to have written the James Bond theme. That was the work of Monty Norman, although its authorship has literally been the subject of litigation: a defamation case a few years back was fought around the suggestion that Barry (who arranged the composition and whose orchestra played it) deserved more credit for the theme than Norman. While it seems clear that the basic melody was Norman’s work, there is also no doubt that even if Barry contributed no more than the arrangement, that was a mighty contribution. That work certainly crystallised the Bond sound.
The sound John Barry brought to those early Bonds combined a strident, almost lurid quality (most evident in the title themes), with a sweeping sense of epic adventure. The latter quality is very evident in Barry’s “007” theme, which he wrote for From Russia With Love and which became effectively the alternate Bond theme (no doubt preferred by Barry since he was 100% responsible for it).