The Happy Happy Playlist

Before you think I’ve gone absolutely barmy and jumped off a cliff with my Suicide Playlist, I think I ought to start soliciting contributions for happier times!

I’m compiling songs that are cheerful and that will lift your spirits. I want songs that will put a smile on your face, shine in your eyes, a skip in your steps and a glow in your heart. Songs that are light and bright and that remind you of nothing but good times the moment you hear the first few notes. I want songs that are happy, happy, happy…

Here’s what I’ve got on my list:

* ABBA: Super Trouper
* Anya Singleton: I’ve Got a Crush on You
* Christine Andreas: On a Clear Day (You Can See Forever)
* McAlmont & Butler: Yes
* One True Voice: Sacred Trust
* Sophie Ellis-Bextor: Murder on the Dance Floor
* Vanessa Carlton: 1000 Miles
* Will Young: Light My Fire

Why is it so much easier to come up with a soundtrack to kill yourself than it is to think of songs that will cheer you up? This is as far as I got and even then, a couple of songs on this list are suspect… Maybe people sing more often because of bad times than good and therefore there are more “suicide” songs than “happy” ones? Or maybe it’s just my very skewed collection?!!??

I’m sure you can do better?!

  

words that might come in useful one day…

While I might not mind dasypygal men, ventripotent ones are definitely not for me. Yes, gay men can be superficial like that. But callipygian men… ah callipygian men… what is it about callipygian men that distracts one’s attention so…

This is all facinorous! (yes, i know, i’m using that word wrongly… but think jamie oliver)

  

Maximising lifetime earnings?

Haxa posted a theory…nay, hypothesis on how people might make decisions about maximising their expected lifelong earning. OK, I’m paraphrasing heavily here, but essentially that’s what he’s arguing, i.e. how can people ensure that they are able to minimise loss of employment and/or maximise their earnings by equipping themselves with diverse skills.

I think it’s an interesting idea. And I suspect some economist must have done a study of such behaviour at some point or other. However, Haxa’s hypothesis needs to be refined, and perhaps revised, further, particularly in the Malaysian context.

I’ll use myself as an example.

  

The Malaysian blood bank’s policy is endangering lives

Today was going to be another one of those days when I asked myself, “what do I blog?” However, that changed after a flurry of emails arrived in my inbox this morning.

About ten years ago, I chanced upon a blood donation drive and decided I had a moral and social obligation to donate to the blood bank. Unfortunately, I never fully acted out on my decision. As I approached the registration counter, I was confronted with a large signage explicitly stating that the Malaysian blood bank (for which you could also read, Malaysian Health Ministry/Government) did not welcome donations from prostitues, drug users, or homosexuals. I was naturally aghast at the policy and vowed then never to donate blood as long as such misguided and morally reprehensible discriminatory policies are in place.

[Note: the Malaysian blood bank also does not accept donations from a few other groups of individuals, however, this is guided by health considerations, e.g. pregnant women.]

Today, I discovered that ten years hence, this misguided policy is still in force.

  

Prices of cultural shows are NOT cheaper in Malaysia

I have a bone to pick with Sharizal and everyone who argues that prices of local art/cultural productions are cheaper than in the “West”.

Prices of art productions in KL are not generally cheaper than in the West. While yes, there are productions that are priced to the local market, these are few and far between. I find the opposite to be the case far more often than not.

Take the Malaysian production of Tosca which Sharizal mentioned. The cheapest ticket is priced at MYR21. The most expensive is MYR201. Compare this with productions at the English National Opera in London - the cheapest ticket is GBP5 (approx MYR30) and the most expensive is GBP46 (MYR276). Granted that while the tickets are, in absolute terms, more expensive, the price difference isn’t that great. When you compound this with the average salary (i.e. GDP) in Malaysia, you will then come to the conclusion that the price of the local production of Tosca is extortionate. Whereas a lot of people in London/UK would be able to afford to watch a production of opera, in Malaysia, only the well-off would think about forking out what is generally the cost of at least two meals for a cultural production.

Granted, in the UK, most art and cultural productions receive funding from the government. In Malaysia, this is rarely the case. This partially explains the differences in prices. But that is besides the point. From the consumer’s perspective, the economic decision is very simple: do we spend GBP5 in the UK (hardly the price of a sandwich in the UK) or MYR21 (at least two full meals in your average restaurant in Malaysia). Another example which would emphasise the stark contrast in the decision process is this: one ticket of GBP5 can be earned through about an hour’s work in McDonald’s in the UK. In Malaysia, one ticket of GBP21 would require at least 6 hours worth of work at the local McDonald’s. All this before we even factor in varying aspects of the production that contribute to the “total experience” which heavy funding in the West would allow, but not in Malaysia - e.g. costumes, props, lighting, etc. etc.

If we truly wanted to support the local art/cultural industry, and the society at large, we should lobby the Malaysian government to provide wider and deeper funding for art and cultural productions. This would allow production houses to lower the costs of the tickets which will then encourage not only more people to attend such productions, but will also make them more accessible to a wider group of audience who otherwise would not be able to afford to participate in such activities. The importance of wider social participation in art and culture is clear. Healthy audience participation will in turn contribute to a thriving art and culture industry.