Sunday, September 30, 2007

The Day of the Tiger 

The last Sunday in September is designated World Tiger Day. Here's a magnificent animal that really shouldn't need the publicity but, sadly, now needs it desperately.

These are Sumatran tigers, photographed by Jill when we went to Melbourne Zoo back in July. The population there now is five, with the birth of three cubs late last year. I had planned to put up J and L's drawings from the same day (and may yet put them here if they turn up).

The Sumatran tiger subspecies is well on the way to diverging into a full species, but with a surviving population estimated at 400, it is critically endangered. The usual pathetic reasons - habitat destruction, deforestation and fragmentation of populations, hunting/poaching for the production of (ineffective) medicines - are the main threats.

The risk of extinction is very real, given the recent extinctions of the Bali tiger (1937), the Javan tiger (1980s) and the Caspian tiger (late 1960s), with the South China tiger soon to follow (allegedly 50-60 still exist in captivity only). All currently existing tiger subspecies are Critically Endangered.

There are many tiger conservation organisations out there. If you want to help and can't decide where to donate, the World Wildlife Fund is always a good place to start (we're members).
See: WWF Tigers

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Tuesday, September 25, 2007

Recent cat album covers 

Here's another in my series of posts about weird hobby number 973 - compiling animal album covers. There's such a glut of these lately that I'm having to divide them up into dragons, dogs, horses, reptiles, monkeys, etc. I may or may not get to post some of the others :). What's interesting here are some of the stylistic and thematic similarities occurring concurrently in a short space of time. So here they are, cats big and small, all from recent CD covers (Click on pic if you want a closer view).

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Top row
  • James Yorkston - The Year of the Leopard - Warm, understated, confessional acoustica with delicate musical arrangements
  • Radicalfashion - Odori - Minialbum of dreamlike swirls of piano and electronics from Japanese composer Hirohito Ihara
  • Polar Goldie Cats - Feral Phantasms - Fine instrumental rock band awash with cats of every sort
  • Jane Seidel Trio - We Get Requests: Live at the Adelaide Cabaret Festival - Australia's first lady of jazz vocal/piano performs requests backed by guitar and double bass
    2nd row
  • The Blow - Poor Aim Love Songs - Danceable electropop EP with female vox, from Khaela Maricich and Jona Bechtolt
  • Tiger Army - Music From Regions Beyond - Nick 13 and Co move from their psychobilly roots towards pop territory
  • Ratatatat - Classics - Instrumental band with eclectic range from dance to metal, with a full on production
  • Against Me! - New Wave - 10 track punk rock, less edgy but consistent
    3rd row
  • Interpol - Our Love to Admire - The ubiquitous New York quartet in black remain in top form
  • Yea Big & Kid Static - The Heavy 7″ - Collaborative 4 track EP from hiphop duo
  • Various - Ibiza: The Sound of Renaissance Vol. 4 - Summery deep, progressive techy club 'n' chillout
  • Peter J. Slack - The Cat Continuum - Canadian pop/folk album (from a fellow blogger!)

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    Added note: Ben Lee liked Against Me's New Wave so much he made an acoustic cover of the whole album! You can find the tracks to download from Ben Lee's Blog (19th August).

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    Sunday, September 23, 2007

    Quokkas, The Nutcracker, Colonel Pewter 

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    Last week J was in Perth playing with the school orchestra (touring around other schools over there). On Monday they visited Rottnest Island, home of quokkas, and Mania was even on sale there - cool!

    On Saturday night, we saw the Australian Ballet production of The Nutcracker which was done along traditional lines, amazingly staged and choreographed - I highly recommend this! The rats in particular were wonderfully done, and the shrinking down scene had to be seen to be believed (complete with lifesize soldiers in a box). J and L were transfixed, having never seen a ballet performance before (I figure this one is a good place to start). The second part of The Nutcracker tends to drift a bit for me as, in spite of the timeless music, it loses the narrative direction of the first half. This production maintained an ideal pace throughout. As we were first row in the balcony we had an exceptional view of the orchestra as well, but I was frustrated by not being able to see the (clearly audible) harpist :).

    Also on Saturday I went to the Post Office and picked up a box of old Colonel Pewter strips. They came in a biscuit/cake tin as the owner had collected them, 19 mostly complete stories cut from newspapers long ago, fairly yellowed with age and bulldog clipped together (some of the clips have rusted). I'll enjoy going through these!

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    Tuesday, September 11, 2007


    "We've been meeting them in the wilderness, and in our dreams, since the dawn of human history. Bears have been celebrated in art and myth since we began drawing on the walls of caves. No beast casts a longer shadow over our collective subconscious. Perhaps more than any other animal, the bear remains the very heart of our concept of wilderness."
    (Brian Payton - In Bear Country)

    This is a long post, compiling various books I've been intending to review.

    As a kid, I can remember going often to Melbourne Zoo, something I always keenly looked forward to. Sometimes I'd sketch animals (much as my own children do now).

    Many of the enclosures were pretty depressing in those days, not least of all the bear pits near the exit. There was a row of these - like jail exercise yards made of cement and bars with a pool in the middle - and they housed a brown bear who sat up cutely holding his toes, what were then called Himalayan black bears (my sister called them "Collingwood bears" on account of their matching the football team's colours), and some polar bears in the end enclosure. The Zoo apparently had some bad luck with bears through those years, particularly one crazy polar bear called Ronald, who had been passed from zoo to zoo. Realising what a relic those pits were, the Zoo Board closed them in 1980 and opened the current spacious bear exhibit in 1986, complete with a stream, rocks and dirt, trees and foliage. The bear contingent at Melbourne Zoo currently consists of endangered Syrian brown bears.

    In Bear Country: A Global Journey in Vanishing Wilderness
    by Brian Payton

    I feel privileged to have seen these other bear species (including two visiting giant pandas), so was easily drawn to Brian Payton's In Bear Country. This was the best read since, well, David Quammen's Monster of God (see below). Essentially, Payton tours the world visiting the last refuges of bears - the surviving eight species. Bears have a strong grip on the human imagination for a multitude of reasons, including their similarities to us (such as an omnivorous diet and the ability to stand on two legs), their totemic and predatory power, and their company down through human history. Payton, like Quammen (and all good nature writers), understands and communicates this dichotomy - humanity feeling the significance of the wild, at times coexisting with it, yet ultimately ensuring its destruction.

    While I was already aware of these eight bears - from Asia the sloth bear, sun bear, moon bear and giant panda; from South America the spectacled bear (a relict species); the North American black bear; the polar bears of the frozen North and the wide-ranging brown (or grizzly) bear - this book captures their current place in the wild and human worlds perfectly. Sadly, like Monster of God it will probably serve as a final historical snapshot before many reach the tipping point of extinction. Although Payton in no way preaches, he does describe the continued unnecessary and cruel exploitation of the bears, whether for misguided medicine (China), culinary exploitation (South-East Asia), insensitive development (Italy) or "recreational" hunting (North America). However, the book is immensely readable and enjoyable, revealing people relating to bears in many different ways, often in contrast with each other.

    Monster of God: The Man-Eating Predator in the Jungles of History and the Mind
    by David Quammen

    "While we humans may be the most reflective members of the natural world, we're not (in my view, anyway) its divinely appointed proprietors. Nor are we the culmination of evolution, except in the sense that there has never been another species so bizarrely ingenious that it could create both iambic pentameter and plutonium. Throughout the course of the human story, one reminder of our earthly status has been that, at some times, in some landscapes, we have served as an intermediate link on the food chain."
    (David Quammen - The Monster of God, p. 13)

    This one came out a few years ago. David Quammen remains my favourite modern nature writer - he's adventurous, inventive and thoughtful - evidently a risk-taker with a widely informed background. The Song of the Dodo focused on biodiversity in island wildlife, particularly with relation to evolution, so I was drawn to his study of human relationships with the last surviving big predators, those beasts of our legends and nightmares who have exercised their influence on human evolution and are now in final decline. Quammen visits the lions of Gir forest in India, the crocodiles of Northern Australia, the giant brown bears of Romania and the Siberian tigers of Far East Russia, and the people who live in close proximity with these beasts. A notable understudy in this show is the tenacious and sneaky leopard, "the perfect predator."

    "Call me a pessimist, but when I look to into that future, I don't see any lions, tigers, or bears." (p.414)

    Chauvet Cave

    Quammen, like Payton after him, is drawn in closing to the recently discovered (1995) Chauvet Caves of France - an incredible gallery of the earliest human art, amazingly rich in both species and accurate naturalistic detail. This incredibly rich gallery of art (much of it seemingly from the hands of one artist) clearly connects us to our early ancestors, reminds us of much lost in between, but mostly celebrates a connection to the natural world. There's a dazzling array of European fauna only glimpsed elsewhere - cave lions, cave bears, woolly rhinoceros, mammoths, giant deer, horses, aurochs, European bison, musk oxen, a cave hyena and a leopard. Curiously, the lions have two eyes, moved Picasso-like to the front of their faces (otherwise the depictions are naturalistic), whereas the bears have no eyes at all. Perhaps that's a reminder that eye contact with bears is an unwise social manouvre :).

    The Grizzly Maze / Grizzly Man

    Of course, no discussion of big surviving predators, and bears in particular, would be complete without reference to the late Timothy Treadwell. Last year I read Nick Jans' The Grizzly Maze, which deals with the demise of bear enthusiast Timothy Treadwell and his girlfriend, Amie Huguenard, killed by a rogue bear in 2003, later in the season than he usually stayed. Treadwell had successfully spent 13 years among the bears of Katmai National Park in Alaska. For those interested in the details of this part of the story, I recommend this book.

    Last night, I finally caught up with Werner Herzog's acclaimed film, Grizzly Man, which consists of equal parts of Herzog's own interviews and Treadwell's original footage, edited to make a certain sort of narrative sense. As has been pointed out, there's almost an air of "mockumentary" about this in places - it's certainly funny in spots (as well as tragic and beautiful), and Treadwell was a larger than life character.

    Much as I enjoyed this film, it left a bad aftertaste in some ways. Herzog's thesis (so well realized in Aguirre, Wrath of God among others), is here used to steer Grizzly Man in a particular direction, with very selective editing and careful sequencing. What is telling is how little of Treadwell's own footage is used (given that there were apparently over 100 hours available).

    Yes, Timothy Treadwell was misguided (and even deluded) in parts of his approach, but he appears at times tragically aware of the sequence of mistakes that led to his ultimate demise - going against the understanding and "rules" he has formerly observed - in choice of campsite, staying beyond the usual time, interacting with strange bears. In the final sequences Treadwell does appear to have a certain fatalism about him. While he accepts his own risks, the ultimate tragedy is that this misjudgment led also to the death of Amie Huguenard, as well as to the destruction of several of the bears.

    Considering much of the footage could be regarded as a personal video diary (not intended for public consumption), Herzog's selections can tend to labour the points he wants to make (one particular long sequence featuring Treadwell ranting and swearing extensively - interspersed with Herzog's narration - is difficult to watch). Treadwell was a lively, troubled character, but evidently had considerable empathy and understanding of nature, if on his own terms. That he tends to project feelings onto the animals around him seems to me comparable to what many pet owners are guilty of. The most enjoyable sequence features a couple of foxes and Treadwell's hat - the foxes are major support players in this film.

    Herzog's editing of the material (while selective) is undeniably compelling and flawless, and his appreciation of Treadwell's film-making abilities shows through, in spite of their conflicting attitudes. Grizzly Man is an interesting film, probably telling more about Herzog's preoccupations than providing a definitive depiction of Treadwell, though it certainly tells a lot about humanity's isolation from nature. I may seek out Treadwell's own book and film. One minor point - the poaching that Treadwell refers to is apparently real and is mentioned in Brian Payton's book.

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    Wednesday, September 05, 2007

    Moth & Tanuki in Mania 77 

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    The latest Mania, #77 October 2007, is out now.

    This time I thought I'd feature a different page from the story - this is page 3. The gag grew through a number of drafts and it still works as a 2 pager without the last two pages.

    The 4 page version has a good ending but left room for me to play around with the middle of the story. For that reason, I could really space the panelling out on this page, even to having room to draw Moth and Tanuki whole and letting the backgrounds drop away to become backdrops. The dialogue reveals some of the dynamics of Moth and Tanuki's supportive codependency (something usually lost in the rush of the story). My major reservation was having large areas of flat colour - even though I matched it a bit on the facing page - but the pages came out really nicely in print.

    My main principle with M&T is no rules. If the story needs to work a particular way, visually or narratively, that's where I want to go with it. However, while this one is a downbeat story, it came out so well visually that it may influence how I do similarly paced future tales.

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