Amelia’s Magazine | Tate Shots: Jared Schiller’s Dream Job


Jared Schiller with David Byrne

All photographs and videos courtesy of Tate Shots except where otherwise stated.

Back in 2002 whilst still a skint student, cheapest I started what was then my idea of a dream job: ticket seller at Tate Modern and Tate Britain. I got to see great art and even meet the odd artist or two. I remember Gustav Metzger insisting he paid to see Barnett Newman, and Tony Oursler successfully blagging a freebie to the Turner Prize. Bridget Riley even gave us a personal tour of her exhibition. Fast forward five years and I’ve landed a job helping Tate Media launch a new video podcast: TateShots. These days I produce and commission the TateShots series, in which we interview artists about the business of making art, and talk to famous gallery-goers about their favourite art shows. The job has given me the opportunity to nervously meet heroes of mine like Jeff Koons, Laurence Weiner and Martin Creed, as well as artists I’m less familiar with but who become firm favourites.

We’ve made 150 episodes of TateShots so far, and it now comes out weekly. This week we launched a new strand called Sound & Vision. The series took the films’ director, Nicola Probert, and I, all over the country to interview musicians who make art. Billy Childish, Lydia Lunch, Mark E Smith, David Byrne, Jeffrey Lewis and Cosey Fanni Tutti all helped us with our enquiries about where art and music collide.

me-and-JeffJared Schiller with Jeff Koons

Billy’s interview was probably the most memorable. We filmed him in a cramped bedroom he uses as a studio in his mum’s house in Whitstable, surrounded by stacks of paintings. There was hardly enough room for him to paint, let alone for us to film.  Billy’s musical and artistic reputations arguably couldn’t be more different. As a musician he is cited by bands like The White Stripes as an influence – his dedication to lo-fi recording and performance make him the very definition of authentic.  On the other hand, as an outspoken critic of conceptual art, his standing in the art world is a little harder to pin down. Because of this big difference, Nicola had the idea to get Billy to interview himself.  So Artist Billy asked Musician Billy questions (e.g. “Do I have an influence on you?” Answer: “No.”), and explains how he went through a ten year stretch of only painting to the music of John Lee Hooker (almost). The whole experience made me think that it’s only a matter of time before Billy Childish is unmasked as the ultimate conceptual artist…

Going forward I would love to make more videos about pop stars with a taste for art. Before we embarked on this series we had already spoken to Alex James from Blur about Ellsworth Kelly, and John Squire from the Stone Roses about Cy Twombly. Apparently Jay-Z is a massive Richard Prince fan, so perhaps he should be next on my list.

meJared Schiller photograph courtesy of Simon Williams/O Production

What Jared likes:

Places: Moel-y-Gest, a hill near Porthmadog in North Wales

Food: Pizza. My dream is to build a pizza oven in my back garden. It will never happen but I keep hold of the dream..

Drink: An Islay Whisky is the perfect late night tipple.

Website: (of course)

Music: Currently the new Four Tet album.

Books:  Currently reading ‘Then We Came to an End’ by Joshua Ferris. I mainly have a weakness for any kind of exhibition catalogue or artist’s monograph.

Film:  I’m looking forward to Chris Morris’s ‘Four Lions’.

Shop: Alter 109 is a really good men’s boutique in Greenpoint, Brooklyn.

Categories ,art, ,Billy Childish, ,conceptual, ,contemporary art, ,Cosey Fanni Tutti, ,Cy Twomby, ,david byrne, ,Jeffrey Lewis, ,Lydia Lunch, ,Mark E Smith, ,music, ,musician, ,painting, ,Tate, ,Tate Britain, ,Tate Modern, ,Turner Prize, ,video

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Amelia’s Magazine | Mark Judges: Zine extraordinaire.

After last weeks feature on Café Royal I felt inspired to search out some illustrators who make zines regularly as part of their practice. Mark Judges is a friend of a friend and other than the fact that he’s a great illustrator the only other thing that I know about him is that he likes socks. Clearly this isn’t enough of a basis for a profile piece so I sent some questions over quick sharp to find out more about the talented Mr Judges.


Tell us a bit about yourself Mark?
I like to make things, and at the moment I’m making things at Brighton University.

I get the impression that illustration students from Brighton are really prolific and good at getting themselves out there. Is there any truth in this assumption?
It’s a domino effect of unspoken competitiveness. Someone does something to promote themselves and everyone else thinks ‘yeah i’ll do that and something better’ and in turn that has to be topped and so on. That makes it sound depressing, but it’s really the best way to be. The course is structured with some commercial ethics, basically ‘do what you want and we’ll try and help you sell it’. I guess it’s art meets business studies. That sounds even more depressing.

How is it being out of the capital, do you think it affects your practice? Is there lots of art stuff happening in Brighton?
I’m scared of London. Everything in Brighton is walking distance, but living here means we don’t get to see as much good art stuff. Then again I really like living by the sea because it makes people want to visit you. I guess its swings and roundabouts.

How long have you been making zines for? Can you remember why you made the first one?
I first started buying fanzines at punk shows when I was about 13 and I just liked to have them at the time. I mostly didn’t understand them, because they were reviews of bands I hadn’t heard of, being compared to other bands that I hadn’t heard of. I just liked that they existed. The first time I saw an art zine a few years later I thought, ‘wow these don’t have words in’. I think that might have been when I realised I was allowed to make art instead of just admire it.

Of all the ones you’ve made which is your favourite?
The first one I did after starting art school. It was called Based loosely on true events and being a full month or so into an art foundation course in Maidstone Kent I thought I was a ‘real artist’. I got it printed in colour on 180gsm card so you couldn’t see the previous page through the paper which was a first. I think getting interviewed about art to get on the course had gone to my head.

How is the process of making a zine with someone else as oppose to just making one on your own?
I only ever really collaborated on zines with Tom Edwards all the other were multiple contributor zines I’ve been in. I just sent the work off and waited for a copy. Working with Tom is like helping your dad with DIY, he knows what he’s doing and he can do it faster than you but he lets you help anyway.

This might seem like a stupid question, but why zines? Why not just frame your work?
I like zines loads it’s really the only way I buy art. It’s nice to collate work in some way and I like to think they inspire participation.


There seems to be a lot of hands and Nazi’s in the work i’ve seen of yours, what’s that about?
Yeah the hands is a problem, it started in New York last year when I wanted to draw people on the subway, but was too scared to look them in the eyes and now they’re my favorite thing to draw. I have a screen print of a ‘sexy nazi’ that I was going to show at the London zine symposium. The people working our stall didn’t want to put up as there were a lot of left wing and anarchist zine writers with stalls all around ours. When I finally got there I had a tantrum until they agreed to put it up; I sold one before I even finished blue tacking it to the wall. I was totally vindicated.


What kind of mediums do you work with in your drawings?
I used to live really far away from my studio so I started using a lot of pencil because they don’t weigh a lot. I try to be flexible but I never learnt how to use oils. I once heard Wolf Howard say he never thinned his paint because no one told him you could thin it. Whereas I knew there was some kind of thinning involved, but that was all I knew and that scared me enough never to try.

Humour is a big feature in your work, particularly humour with a dark edge like with your S.TD package. How important is a piece being funny to you?
Not important at all. I’m usually not trying to be funny but the world is usually quite funny so its hard to avoid.


Is the aim of your zines for someone to see them and then hire you? Is the ultimate aim to become a commercial illustrator or would you want to continue to do your own self motivated/funded things and hope you can make a living through that?
I like drawing and I like money, but I often don’t know what to do with it. I usually just try to at least break even with printing costs with the work I sell. I don’t think I could mastermind any kind of living from self-publishing at the moment. I have been asked to contribute on a few things off the back of my zines, but I never really intended them to create any kind of response. I am always interested in working on projects.

Who are your favourite artists?
I like Billy Childish, Picasso’s pencil drawings and Edvard Munch and all the contempory stuff that everybody loves. Luke Best, Paul Davis, Café Royal. Paul burgess just lent me a book about Bob and Roberta Smith, which is very good.

What inspires you?
The over active imagination that has made everything else so hard.

What music are you into?
Again everything Billy Childish. I come from the ‘Medway delta’ which is a little unpleasant and Billy is one of a handful of people from the area who defiantly shits gold (except I just got a split 7” with Sexton Ming that wasn’t so good). Lots of garage, punk, rock&roll, blues, r&b and skiffle that no one seems to care about. Several years of working in many infamous high street shops means I never need to hear any more funky house or Christmas songs. Oh and Zeegen Youth.

Tell me a bit about Illustrators Elbow.
Illustrators Elbow was Kaye Blegvad’s idea I think it’s because she makes so much work her blog couldn’t handle it and she kindly asked me and a few others to contribute to a collective website and blog. A bunch of us ended up getting involved with other projects from people seeing the site.


Where can we buy your things from?
You can buy a small selection of very limited edition prints from ink-d
excuse the dingy photos there much brighter in the flesh and Illustrators Elbow is updated with art and zine fairs we will have work for sale at.


Categories ,Billy Childish, ,Cafe Royal, ,Illustration, ,Mark Judges, ,Punk, ,Zines

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Amelia’s Magazine | Exhibition Review: Ghosts of Gone Birds

Margaret Atwood by Faye West
Margaret Atwood by Faye West.

Ghosts of Gone Birds. Have you been yet? This fabulous exhibition can be seen at the Rochelle School, Shoreditch up until the 23rd November. From there it goes on tour, so with any luck you will be able to catch it soon at a venue near you.

Gone Birds -albatross
Ghosts of Gone Birds is the brainwave of film maker Ceri Levy, who chanced upon the idea whilst making a documentary called The Bird Effect, which examines the effect of avian life on human life.

margaret-atwood-by marta-spendowska
Margaret Atwood by Marta Spendowska.

At the start of November I attended a special introduction to the exhibition given by the renowned writer Margaret Atwood, who just so happens be a massive fan of birds. She had just returned from a conservation trip to Madagascar, and on her way home she was enchanted to discover that the man at customs was a fan of vultures, of all things… it seems you just have to start the conversation and you will discover a fan of birds.

Gone Birds t-shirt design by Daria Hlazatova
Gone Birds t-shirt design by Daria Hlazatova.

Her contribution to Ghosts of Gone Birds is a knitted Great Auk, which was made at a Stitch ‘n’ Bitch group in Canada using local wool. It’s eye is formed from a local Inuit bead and the Auk is a resident of the Canadian Arctic… so the use of materials and subject work in perfect unity.

Margaret Atwood emphasised the importance of the exhibition as a means to spread the message about the plight of birds beyond the usual enthusiasts. In the unfolding biodiversity disaster that we humans are currently inflicting on the planet birds have become one of the biggest sufferers. According to figures released by BirdLife International birds are now going extinct at a thousand times the natural background rate: that’s a pretty major disaster.

There are loads of great artworks in the exhibition, too many to show, so here are just a few of my favourites:

Angie Lewin - Double-Banded Argus
Double Banded Argus by Angie Lewin.

Ben Newman - Bishop's 'O'O
Bishop’s O by Ben Newman.

Reunion Owl by Billy Childish
Reunion Owl by Billy Childish.

Gone Birds -Red Moustached Fruit Dove by Emily Sutton
Red Moustached Fruit Dove by Emily Sutton.

Jack Teagle - Black Mamo
Black Mamo by Jack Teagle.

Gone Birds -The Unsung Soldier by David Taborn
Detail from The Unsung Soldier by David Taborn.

Gone Birds -The Sound of Extinction by Philip Hardaker
The Sound of Extinction by Philip Hardaker.

Gone Birds -Empty Nest by Jackie Hodgson
Detail from Empty Nest by Jackie Hodgson.

Gone Birds -St Helena Hoopooe by Felt Mistress
St Helena Hoopooe by Felt Mistress.

Le Gun - The Tragic Demise of the White Gallinule
The Tragic Demise of the White Gallinule by Le Gun.

Full listing information can be found here.

Categories ,Angie Lewin, ,Ben Newman, ,Billy Childish, ,BirdLife International, ,Ceri Levy, ,Daria Hlazatova, ,Emily Sutton, ,Faye West, ,Felt Mistress, ,Ghosts of Gone Birds, ,Great Auk, ,Inuit, ,Jack Teagle, ,Jackie Hodgson, ,Le Gun, ,Margaret Artwood, ,Marta Spendowska, ,Philip Hardaker, ,review, ,Rochelle School, ,Stitch N Bitch

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Amelia’s Magazine | Art Car Boot Fair 2011 returns for the Apple Cart Festival in Victoria Park

Art Car Boot Fair 2011 review-all photography by Amelia Gregory
Art Car Boot Fair 2011. All photography by Amelia Gregory.

It amazes me that I’ve never been to the Art Car Boot Fair before… but there you have it, buy this year was my very first time, despite it’s proximity to my home. I think I may have been inadvertently put off by the hype surrounding limited editions by very famous artists, sold out of the boots of (sponsored) cars to the desperate queueing hoardes.

Art Car Boot Fair 2011 review-Art Car Boot Fair 2011. All photography by Amelia Gregory.Art Car Boot Fair 2011. All photography by Amelia Gregory.
But if you could put aside the hoopla there was a lot of very interesting stuff to see and buy, especially by lesser known up and coming artists and collectives… here’s some of my favourite discoveries.

Art Car Boot Fair 2011. All photography by Amelia Gregory.Art Car Boot Fair 2011. All photography by Amelia Gregory.Art Car Boot Fair 2011. All photography by Amelia Gregory.Art Car Boot Fair 2011. All photography by Amelia Gregory.Art Car Boot Fair 2011. All photography by Amelia Gregory.Art Car Boot Fair 2011. All photography by Amelia Gregory.Art Car Boot Fair 2011. All photography by Amelia Gregory.
Renegade ceramicist Carrie Reichardt was there, selling amusing tiles and bastardised royal plates. Love her stuff – she’s invited me over to her studio in West London, so hopefully I will find the time to visit soon.

Art Car Boot Fair 2011. All photography by Amelia Gregory.Art Car Boot Fair 2011. All photography by Amelia Gregory.Art Car Boot Fair 2011. All photography by Amelia Gregory.
On stage Hot Breath karaoke entertained as Tranny Tarot predicted the future.

Art Car Boot Fair 2011. All photography by Amelia Gregory.Art Car Boot Fair 2011. All photography by Amelia Gregory.Art Car Boot Fair 2011. All photography by Amelia Gregory.Art Car Boot Fair 2011. All photography by Amelia Gregory.Art Car Boot Fair 2011. All photography by Amelia Gregory.Art Car Boot Fair 2011. All photography by Amelia Gregory.
Over the way there was face painting for trendy art kiddies, and adults. With some impressive and unusual results.

Art Car Boot Fair 2011. All photography by Amelia Gregory.Art Car Boot Fair 2011. All photography by Amelia Gregory.
Holly Freeman was selling a Pint of Art for just a fiver. Pints of liquid in various guises, sold as art, was a fashionable theme.

Art Car Boot Fair 2011. All photography by Amelia Gregory.Art Car Boot Fair 2011. All photography by Amelia Gregory.
Billy Childish was selling crumbled limited editions out of a large metal trolley. Here seen chatting to Gavin Turk.

Art Car Boot Fair 2011. All photography by Amelia Gregory.
I particularly liked the recycled wall plaques of self taught artist Cliff Pearcey – tribal wooden faces created from found objects: old chopping boards, keys and hinges given a new lease of life.

Art Car Boot Fair 2011. All photography by Amelia Gregory.Art Car Boot Fair 2011. All photography by Amelia Gregory.Art Car Boot Fair 2011. All photography by Amelia Gregory.
Busty Babes on Bank Letters was a real winner – how to turn debts into cash. Kelly-Anne Davitt persuaded at least one of my party to help her out with that mission. Here she is seen celebrating a sale to Gavin Turk.

Art Car Boot Fair 2011. The Girls All photography by Amelia Gregory.Art Car Boot Fair 2011. The Girls All photography by Amelia Gregory.Art Car Boot Fair 2011. The Girls All photography by Amelia Gregory.Art Car Boot Fair 2011. The Girls All photography by Amelia Gregory.
I finally had the chance to meet The Girls, who were posing for pictures beside the boot of their car which featured a carefully curated exhibition of postal memorabilia. POSTED celebrates the dying art of letter writing.

Art Car Boot Fair 2011.  All photography by Amelia Gregory.
Things best ignored: Gavin Turk‘s eggs. (I mean, really. I would break it straight away. Or eat it by mistake.)

Art Car Boot Fair 2011.  All photography by Amelia Gregory.
Tracey Emin in dark glasses doing a book signing. Bovvered.

Art Car Boot Fair 2011.  All photography by Amelia Gregory.
Good stuff: I picked up a lovely signed print from David David. A real bargain that.

Art Car Boot Fair 2011.  All photography by Amelia Gregory.
A man with a rainbow umbrella.

Art Car Boot Fair 2011.  All photography by Amelia Gregory.Art Car Boot Fair 2011.  All photography by Amelia Gregory.Art Car Boot Fair 2011.  All photography by Amelia Gregory.Art Car Boot Fair 2011.  All photography by Amelia Gregory.
Ridiculous edible art: chocolate biscuits, beans, cheese, you name it.

Art Car Boot Fair 2011.  All photography by Amelia Gregory.
Public snogging.

Art Car Boot Fair 2011.  All photography by Amelia Gregory.
And how amazing is this girl’s hair?

Art Car Boot Fair 2011.  All photography by Amelia Gregory.Art Car Boot Fair 2011.  All photography by Amelia Gregory.Art Car Boot Fair 2011.  All photography by Amelia Gregory.Art Car Boot Fair 2011.  All photography by Amelia Gregory.Art Car Boot Fair 2011.  All photography by Amelia Gregory.Art Car Boot Fair 2011.  All photography by Amelia Gregory.
There was hula hooping, public spanking and bubble blowing. And if you think this all looks like rather good fun but missed the Art Car Boot Fair this year, then there is still a chance to catch a bit of the magic at the pop up Art Car Boutique in a few weeks time at the new Apple Cart Festival in Victoria Park on 7th August. Lovely.

Categories ,Apple Cart Festival, ,Art Car Boot Fair, ,Bank letters, ,Billy Childish, ,Brick Lane, ,Busty Babes, ,Carrie Reichardt, ,ceramics, ,Cliff Pearcey, ,David David, ,Eggs, ,Face painting, ,Found Objects, ,Gavin Turk, ,Holly Freeman, ,Hot Breath, ,Karaoke, ,Kelly-Anne Davitt, ,Letters, ,Limited Edition, ,Pint of Art, ,Post, ,POSTED, ,print, ,The Girls, ,Tracey Emin, ,Tranny Tarot, ,Truman Brewery, ,Upcycled, ,Victoria Park

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Amelia’s Magazine | Art Listings:

You know those rainy afternoons when you sit indoors, dosage information pills flicking through the pages of any number of trashy magazines and getting suddenly, order inexplicably excited at the idea of fashion? Or, try more accurately, at the idea of brilliant style. It’s enough to make you want to plunge head first into the glossy pages and never return. That’s the effect it has on me, anyway. I trace my fingers around the outline of a beautiful silk bolero, sigh wistfully over the idea of a chunky knotted belt and a chiffon dress. ‘If only,’ I think ‘if only I could own all of these things, perhaps then my life would be complete’ (did I mention that I also have a mild tendency towards hyperbolic exaggeration?)

In the cold light of day, of course, I would not be more complete with these things, what I would actually be is more like everybody else. It is so rare that I find something that isn’t run-of-the-mill, that when I do I feel it my duty to shout about it from the rooftops. Only I heard rooftops were dangerous, so I decided to use Amelia’s blog instead.

Projects Design Wear is a perfect little gem nestled in the heart of Nottingham city centre among the style-seekers and just left of the cool kids. For years this little boutique has been charming all and it’s not just because of the effervescent mixture of clothing. Walking into Projects is like being folded into an enormous bear-hug by a large and much-loved Uncle. Their staff are friendly, remember who you are and are always on hand to personal-shop for you until one of you drops.


Settled in amongst the dark wood furnishings and lashings of vibrant paint is a sartorial feast for men and women alike. The first floor houses menswear. If you like bright colours and bold statements, ask for House of Gods and !Solid t-shirts. If casual with a twist is more your style, then you’ll be happy to pore over the offerings from Raygun. And an absolute must is their selection of denim. Now, I’m not a man, but I know some, and I have been shopping with a few. I know how maddening guys find it searching for individual jeans. Made out of proper denim, and in proper denim washes, Projects’ selection is perfect for boys who don’t want a tag on their arse, but still want their togs durable and fashionable. What more could you ask?


Well, you could ask for another floor, laden with women’s clothing so pretty you could cry. Lovely changing rooms with real curtains (none of this fabric-not-quite-meeting-cubicle tosh) are waited on by lovely ladies. Stock ranges from cute cardigans to chic evening wear and takes in everything in between as well. There are printed t-shirts and slouchy knits from Numph and high-end gloss from Naughty (check out the black sheen dress). There are these things sitting happily alongside the sort of effortlessly elegant dresses that you always see on other people and can never actually find for yourself. I found them, and I am bequeathing them to you.

Not only this, but there is (be still my beating heart) a glorious range of jewellery. Not just any jewellery mind, but pieces from none other than her majesty; Vivienne Westwood. A rare find indeed among the usual gaggle of costume pieces, and a fine way to top an otherwise genius little store. Ladies must also be sure to check out the selection of men’s scarves downstairs. I have several, and I love them all, equally.

is not only a clothes shop, it is also a platform for new talent, happily selling for local designers, like Bantum (the I Love Notts t-shirts continue to fly of the shelves). It is this commitment to innovation and this willingness to give a leg-up to emerging new talent that has planted the shop firmly in the hard hearts of all of us Midlanders. I offer wild applause to Projects for its unique take on fashion and for delivering what we all secretly want: simple, affordable, wonderful clothes that not everybody else will have. And when recession looms, it’s ever-more important to invest in the interesting, independent places.

Images courtesy of Projects Design Wear
Have a greener Christmas!

Thursday 20th – Sunday 23rd November

side effects +Bargehouse+Street%E2%80%A8+South+Bank, malady +%E2%80%A8London, this +SE1+9PH&sll=37.0625,-95.677068&sspn=44.60973,74.794922&ie=UTF8&z=16″target=”_blank”>Bargehouse, ?Oxo Tower Wharf?, Bargehouse Street? South Bank, ?London, SE1 9PH

11am – 7pm
?Entry £1: Kids go free!


Not feeling particularly Christmassy just yet? A visit to the Bargehouse this weekend may change all that…With three floors boasting over forty stalls, the Ethical Christmas Emporium will include the likes of Divine Chocolate, RSPB, Shared Earth, Zaytoun, The World Music Network, Malika, Jump 4 Timbuktu, Earthscan Publishing, Pants to Poverty, Planet Silver Chilli, Manumit and The Hemp Trading Company. The event will bring together the very best in Fairtrade, ethical, sustainable and environmental gift ideas around!

Enjoying this magical time of year can be wonderfully eco-friendly; Shopping here not only provides an escape from the busy high streets, but the secure knowledge that every stall is working under a Fairtrade ethos, making sure producers around the world all have something to celebrate this Christmas.
The atmosphere is lovely, and everyone seems to be smiling as the event opens on the Thursday. Discounts are available as many stalls have cut their prices specially for this event.


Shopping is not the only thing on the agenda at this event, a local Youth Club Choir from Ghana will be entertaining the crowds via live satellite link-up. Kids entry is free and while there they can enjoy lots of specially created activities- Green Santa will be there too to spread some ethical Christmas joy! Grown ups will also be able to delight in food tasting, films, informative talks, music and much more…

The Ethical Christmas Emporium is being hosted by Hand Up Media , the ethical publishing & media company which promotes Fair Trade and ethical lifestyle issues in a positive, stylish and empowering way to consumers across the UK and beyond.

The Oxo Tower Wharf


Monday 24th November
Anything that makes the art world seem a little more accessible is always nice, cure and an open-submission painting competition is one such an opportunity. The Marmite Prize for Painting is a biannual exhibition at Studio 1.1 in East London. Perhaps you’ve entered yourself, or you’d like to get a glance at some of the entries before the winners are selected. The exhibition opens today and runs until the end of the week.

Tuesday 25th November
There will be dancing, there will be porcelain deer skulls, and there will be bird houses, a hundred of them in fact. The Wapping Project, a Hydraulic Power Station turned multi-purpose exhibition space that now hosts an exploration on the social and cultural phenomenon of the British Season. Turning the Season will run until the 28th of February, and it’s free.

Wednesday 26th November

You know how there’s always a kid in a film who’s Lego creations far out-strip the usual tower blocks of most children, well James Johnson-Perkins was certainly one such child, “I spent my whole life building imaginary universes with children’s building blocks”. At EXHIBIT until the 28th of December, he presents his solo show, 50 Robots. Come and see what one man can do with 2,800 construction blocks. Free.

Thursday 27th November
Starting today, a group show put together by Stella Dore begins in their new gallery space at 42 Rivington Street, featuring the artists on their roster. It’s between 6 and 9 pm, and it’s called ‘Make-Over”.

Friday 28th November

The Guardian has named him “Britain’s greatest cultural asset”, and after some 12 years of “painting on the doll”, amongst many other things, there’s no end to the volume work to show for this artist/author/poet/film-maker/singer and guitarist, phew! If you haven’t guessed, we’re talking about Billy Childish. Heroes of the British Art Resistance runs until the 23rd of December at the Aquarium L-13.

Saturday 29th November

The You Me Bum Bum Train – like nothing you’ve experienced!
If you try to describe this to someone (which you shouldn’t, don’t give anything away), you will sound like you are drawing from memory a nonsensical and fantastical dream, not something remotely tangible that could have actually happened in a 25 minute journey through a Shorditch warehouse. Reality is turned upside down as you are wheeled (as the sole participant) through fifteen distinct interactive scenarios, where over 70 artists act out micro-performances, leaving you to get as involved as you much as feel compelled to. “Designed to mentally and visually astound”, check, “leaving you overwhelmed and exhilarated” check, and check, and finishing the ride “in a totally different emotional state from the one you were in when you embarked on the journey”, most definitely true. It’s fifteen pound price is money well spent, and it runs every Saturday until the 20th of December. Go!

Sunday 30th November

Behind the Shutters – muTATE Britain
The Shutters were lifted this Thursday to the three story disused warehouse that is the largest non-corporate exhibition space in London. With Mutoid Waste taking the ground floor, I got my first whiff of nostalgia for muddy fields (Trash City at Glastonbury), a sentiment of bubbling creativity that runs through the entire event. It’s a multi-media circus, lots of interactive art, and it’s set to change every week through it’s lifespan. This weekend the theme is “Deface Value”, featuring the likes of Tracy Emin and David Cameron alike (yup, the Conservative leader). It opens Friday, Saturday and Sunday between 1.30 and 10 pm.

Categories ,Art, ,Billy Childish, ,exhibition, ,James Johnson-Perkins, ,Listings, ,muTATE, ,Stella Dore, ,The Guardian, ,The Marmite Prize, ,The Wapping Project, ,You Me Bum Bum Train

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Amelia’s Magazine | Billy Childish ‘Unknowable but Certain’ at the ICA


Courtesy the artist and L-13, clinic London

Billy Childish is a man of many faces; musician, online writer, more about painter and film maker, he is a name that many people are familiar with, yet find hard to categorize as coming from one particular background. Billy Childish – the singer? Artist? Former one half of the Childish/Emin art power couple that helped launch the Stuckism movement amongst other things.
Envisioning the idea of who Billy Childish is; I tend to think of him more as a drifting outsider, painting away somewhere near the Thames Estuary rather than being displayed inside the glossy walls of the ICA.
But yet, here he is.
The message of his art has a strange juxtaposition here. Suited businessmen and ladies who lunch amble by anti-establishment placards, Childish has created and framed on the walls leading up to the Upper Gallery. Inside the lower gallery, a collection of Childish’s canvases; large oil based work, narrating the mental breakdown and subsequent death of Swedish writer Robert Walser, seeking to portray a man on the edge of society; a rogue outsider.
Although Childish himself would probably detest the label of ‘celebrity’, he has become one regardless. His relationships with other high profile artists (a muse to Tracey Emin who had his name featured in her tent of sexual conquests before it was destroyed in a warehouse fire) and his music career have all created ‘Billy Childish’ as a cult icon, most notable for bucking the system and being a general anti-capitalist miscreant.


Courtesy the artist and L-13, London

I am always cynical of such exhibitions for those reasons, the celebrity angle always seems a little too overplayed in such environments. But it would be naïve to assume that Art is no less fallible to the celebrity power card than any other creative industry. However, all of this doesn’t detract from the fact that Billy Childish is a great artist.
In my opinion, Childish succeeds most as an artist not with his large oil paintings below, but the room above; where his books, record cover art and poetry are displayed. Billy Childish is someone who is the art. He is not an anonymous painter detached from his work; his very life is a continuing appendage to the artwork itself, and in the Upper Gallery, the two meld together and make more sense. The themes of rebellion, loneliness and rage that tie together Childish as an artist all come together upstairs, where as in the sterile gallery below, it all seems somehow disconnected.

Overall, for fans of Billy Childish the exhibition is a treat and a great retrospect of his work to date. For those who do not know him already, there is still much to enjoy if one can get beyond the strange feeling of contradiction that lingers around the artwork.
Billy Childish ‘Unknowable but Certain’ continues at the ICA until April 18th.

Categories ,amica lane, ,anti-establishment, ,art, ,Billy Childish, ,Gallery, ,ica, ,Tracey Emin, ,walser, ,warehouse fire

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Amelia’s Magazine | An interview with Lupen Crook

LFW David Koma Maria del Carmen Smith
David Koma by Maria del Carmen Smith.

Last Monday’s shows opened with a double whammy from David Koma and Holly Fulton, salve for sale which I shall review in separate blogs.

LFW David Koma by Maria del Carmen Smith
David Koma by Maria del Carmen Smith.

We wrote about David Koma as far back as his longer named incarnation when he graduated from his Central Saint Martins BA way back in 2007. His rise in popularity since then has been unstoppable, sales information pills clothing many high profile celebrities including modern day sweetheart Cheryl Cole – in a heavily embellished dress for the X Factor. It was an instant talking point.

His modern take on glamour owes much to an eclectic life, equally split between three countries where David has spent appreciable amounts of time and of which this 24 year old regards himself as equal citizen. He was born and spent his early years in Georgia before moving to St Petersburg to study classical drawing (and which is where he presumably met his Russian wife). He then relocated again to the UK, where he studied at Saint Martins under the expert tutelage of Louise Wilson, who he idolises.

LFW David Koma by Maria del Carmen Smith
David Koma by Maria del Carmen Smith.

For S/S 2011 his collection was inspired by The Mariinsky Theatre of Saint Petersburg, and memories of Tchaikovsky’s Swan Lake. A series of pleated skater dresses in sugary colours moved swiftly through abstract monochrome tailoring, shades of lemony yellow and onto gold party pieces, all accessorised by sky high platforms and big metal knuckledusters courtesy of a collaboration with Mawi.

David Koma SS2011 photo by Amelia Gregory
David Koma SS2011 photo by Amelia Gregory

In official parlance this translates pretty much thus: Ballet silhouettes were combined with the more graphic shapes of cubist artist Fernand Leger to explore contradictions of fragility with physical and emotional strength.

David Koma SS2011 photo by Amelia Gregory
One cleverly cut dress even had me fooled that a model’s waist could be smaller than seems physically possible: I did an instant double take when I looked back at this photo.

David Koma SS2011 photo by Amelia Gregory
David Koma SS2011 photo by Amelia Gregory
David Koma SS2011 photo by Amelia Gregory

I loved this collection, so was a bit discombobulated when I discovered that David had used copious python skin in his show. Where does python come from? Were they caught in the wild or farmed? It’s not an industry I know much about, so when I ran into David at his New Gen stand I decided to give him a bit of a grilling.

David Koma SS2011 photo by Amelia Gregory
David Koma SS2011 photo by Amelia Gregory
David Koma SS2011 photo by Amelia Gregory

A quick question turned into a half an hour chat during which David was utterly charming the entire time. He’s determinedly upbeat about life and feels blessed to do what he loves the most; his precocious rise surely the result of much hard work as well as obvious talent.

David Koma SS2011 photo by Amelia Gregory
David Koma SS2011 photo by Amelia Gregory

So, back to that python skin. It comes from an accredited factory farm – for pythons and crocodiles are farmed much as mink is. I feel quite uncomfortable about this – I am okay with the use of leather for outer clothing and shoes, safe in the knowledge that it is very much the waste product of a meat industry that is unlikely to go anywhere anytime soon.

Somerset House SS2011 David Koma
David Koma at Somerset House.

But I don’t buy into the idea that it’s ethically okay to farm animals purely to provide us with luxury goods – and no matter how accredited a farm might be on paper there are always going to be corners cut in reality on the factory floor. David’s take on it is that he is against fast consumerism, and therefore wants to create luxury garments that will be treasured for a long time. For this to be possible he wants to chose the best possible materials available – and if that means stripping a snake then so be it – that they will live on in a beautiful garment is enough for him. And he does not feel that fake fur or leather is a particularly ethical substitute, a fact with which I tend to agree. Another fair point he makes is that he would rather buy from a reputable farm than encourage any kind of black market. But this surely begs the question, how is a black market encouraged – except by the use of python leather in luxury must-have items? If you are able to remove questions of provenance from your mind all that gold python is very very beautiful.

David Koma SS2011 photo by Amelia Gregory
Knuckledusters from Mawi.

David also admitted that he is considering the use of fur in his next collection, but as we parted he said I had made him think a bit more about this. Whether my words have had any effect remains to be seen but I really appreciate that he didn’t balk under my questioning and seems genuinely to be interested in engaging in the origin of his materials: he’s a very talented and increasingly influential designer and I hope he’ll make educated decisions in the future. In the meantime enjoy our pictures… and forget about any real live snakes in cages if you can.

David Koma SS2011 photo by Amelia Gregory
David Koma SS2011 photo by Amelia Gregory
David Koma Gold Python on White By Fiona M Chapelle
David Koma “Gold Python on White” by Fiona M Chapelle.

Illustration by Gemma Randall

Christopher Shannon burst onto the catwalk in true and typical chavvy style to launch menswear day, information pills for me at least, and on Wednesday. His wasn’t the first show; we didn’t get tickets for Lou Dalton (a real shame, as I was really looking forward to that one) or Topman Design (meh). There’s a strange feeling in the air on LFW’s Wednesday – it’s eerily quiet, people are more relaxed and you could actually swing a cat around in the press room, should you desire, for the first time in five days.

Shannon showed alongside JW Anderson in the BFC space, but even with these two heavyweights of menswear design presenting back to back, the venue still wasn’t full. It’s a shame that there isn’t as much interest in menswear, but the editors had all shipped off to Milan, I guess…

Shannon was up first and his show featured some of my favourite guilty pleasure tracks – Blu Cantrell, for instance. Tune! This kind of music sits hand in hand with his unique blend of street-inspired sportswear and edgy, boyish tailoring. The first looks were all crisp white numbers, featuring engineered t-shirts with geometric holes, multi-pocketed shorts and bucket hats, followed by sweaters with mesh details. I like Shannon’s fancy-free approach to menswear – it’s for young, hip individuals who care about style but not about stuffy suits.

Progressing into outerwear, the collection bore sports-luxe jackets, more mesh, and shorter shorts. Shannon’s garish but great rucksacks, a long-term callabo with Eastpak, made an appearance in similar tones as last season – pale greys and baby blues.

Illustration by Gemma Randall

Further in, Shannon’s signature camo-graffiti prints showed up, bringing a welcomed burst of colour in the form of pale blues. I like this print A LOT – it works on padded puffas, shorts and even bucket hats (although I doubt I’ll be seen in the entire get up – the pattern is intense and it needs breaking up a little, I think).

His scally charm shone through on more printed numbers, where sections had been cut away, and the reappearing camo print. Panelled trousers, though, displayed the menswear designer’s continual progression – sand chinos displayed oblong sections in luscious pastel colours made the move from teenage fashion. Vibrant yellows hinted at that ballsy appeal many of us were looking for.

Faces were painted like colloquial masks, apparently inspired by longing for a holiday, but I’m going to ignore this literal influence — as much as it looked fun, it fought to distract from some pretty sophisticated tailoring. All in all, a toned-down collection compared to what we are used to. As the chavvy charmer continues to grow up, so will – I hope – his collections.

All photography by Matt Bramford

Illustrations by Jamie O’Callaghan

I’m a fan of small, symptoms independent festivals and I’d pick one over Glastonbury any day. I’m not sure I can include Southsea Fest in that grouping just yet, viagra approved because, viagra as one organiser said, “we’re not the Great Escape love”. I don’t think they’ll ever be able to rival the festival that’s just 50 miles along the coast, and that lack of ambition is just one of two things that holds the one-day festival back.

The other is the organisation. Mix ups over guestlists, disputes over whether or not I had a plus one and general waiting around meant that I missed the first band I wanted to catch, which was Revere. They played in the stunning Kings Theatre, and would probably have been my highlight of the day, if I’d been able to catch them.

Instead, I headed over to the Fat Fox to check out Real Fur but they were running late – over an hour late – although I was determined to not miss them. At this rate, I’d been at the festival for a couple of hours without hearing a single note of live music. When we finally watched Real Fur, it was definitely worth the wait. They’re a rock band that are so much more exciting live. ‘Pride’ was the standout track for me, but generally the feel of Real Fur is that they’re a jangly, dancy rock band with the odd harmony and, as much as I hate the phrase, a groovy vibe.

I caught Montage Populaire after and I really enjoyed their set. I had no idea they were one of the local bands booked, and spent hours trying to remember where I’ve seen them before. I failed, but I’ll definitely be checking them out in the future. They’re an art-rock band, and it’s easy to see why they’ve drawn comparisons with Los Campesinos and early Blur.

I watched a couple of local bands after that, before stumbling across the Ruskins doing a street gig to promote their set, which I went to. So did the majority of festival-goers judging by the size of the crowd. The lovely London lads managed a couple of songs in the street before some security guards made them stop, but inside Little Johnny Russells they managed half an hour of their ska-infused rock. It was refreshing to hear something that wasn’t indie or acoustic, as the lineup was pretty swamped with it.

The next venue was pretty hideous, but home to two of the most exciting bands on the bill. I got there in time for Let’s Buy Happiness; it’s always exciting to watch bands you know are destined for big things play such a tiny venue. The vocals are completely disarming, the music has this beautiful swaying rhythm and Let’s Buy Happiness produce the most charming pop songs that I’ve ever seen played in Portsmouth. They just got featured by the Guardian, so it won’t be long until the rest of the press begins to gush about them. They are truly spectacular.

Bright Light Bright Light played a set of electro-dance-pop that wasn’t too interesting, so I’ll skip over that bit. After came Islet, who I was crazy excited about catching. They don’t bother with the concept of a stage, preferring to swap instruments and drag them into the crowd. In fact, when one guy in the crowd reached out to touch a guitar, he was handed it. When he wasn’t sure what to do, the guitar was gently led back to the stage. Islet are pretty weird, but they’re unlike any other band I’ve seen.

When I listen I have this internal fight between feeling they’re some kind of Emporer’s New Clothes, art-school weirdness that people sway along to because they’re fashionable, and genuine love for their uniqueness. It’s tiring watching them jump around the stage, share instruments and howl, made all the stranger by the setting. They’re a band everyone should see, even if just for the spectacle of it.

The closing set came from King Charles, back at the Fat Fox. I’ve been listening to his music for a while, so to be able to watch him with a couple of hundred other people was the perfect way to end the day. The harmonies are even more heart-stoppingly beautiful, the guitar riffs that little bit more exciting and the drums that bit more frantic when played live and on a tiny stage. Easily the most captivating performer, King Charles literally didn’t put a foot wrong, performing every track note-perfect. He drew queues outside, the size of which I didn’t notice anywhere else, and showed every other band how it’s done.

If Southsea Fest had a little more ambition, if it could decide whether it’s a festival in Southsea or a festival with bands from Southsea, and if it could book the same quality of bands as this year, it could be popping up on many more radars at the end of next summer. All the elements of a successful festival are there, and hopefully the success of this event will encourage the organisers to step it up for next year.

Lupen Crook and the Murderbirds by Faye West.

As I approach the North London pub where I’ve agreed to meet Lupen Crook, visit I’m surprised to find that he’s already there, sitting quietly at a table outside. He greets me politely and offers to buy me a drink. Not quite what I was expecting from the self-confessed “unmanageable” Crook, but then the 28-year old singer-songwriter and artist is a slightly different proposition these days. Having spent a couple of years out in the cold after an acrimonious split with his record company, Crook has returned with easily his best work to date, entirely self funded and released on his own Beast Reality Records. And whereas he used to stalk the unlovely streets of the Medway Towns in Kent, Crook has now moved to London and developed a muscular sound to match.

Recorded with his band, the Murderbirds, Crook’s eagerly awaited third album, The Pros and Cons of Eating Out, is a vaudevillian trip through the dark recesses of his vision of the “Dysunited Kingdom”. But the melodrama of old has been replaced by real drama, and instead of lyrics about toilet abortions and shaken baby syndrome comes beautifully crafted wordplay, with beguiling references to Enoch Powell and Schrödinger’s Cat. From the Love Cats-esque Lest We Connect through the Russian Cossack stomp of How to Murder Birds to the sub-low synth powered Scissor Kick, the genre-confounding album is the band’s most fully realised and accessible work to date. But in case anyone’s thinking that Lupen Crook has gone all mature on us, one look at the harlot-embarrassing hand painted album cover should reassure fans that the band shows no signs of pandering to the mainstream just yet.

Over the summer you played to big crowds at the Latitude and Wireless festivals and your new album is more accessible than some of your past releases. Do you think the band has the potential to cross over to mass audiences?
There’s been no conscious effort to make our music more acceptable to people at all – in fact we’re celebrating the freedom to do exactly what we want more than ever. But we’re not shutting ourselves off to the possibility of reaching wider audiences. We’re more comfortable in our own skin now and stronger for it, and with that maybe comes a wider appreciation. I feel like people generally are treated like idiots – like they’re not intelligent enough or emotionally deep enough to be able to understand anything further than just really crap music. And I think, well, if you actually give people the chance, there’s a whole wealth of brilliant music that would actually make them feel a hell of a lot better about themselves and that they’d enjoy.

Having released your first two albums on the independent Tap n Tin Records, you’re now setting an example for how bands can function as the industry changes, by being completely self funded and releasing your new album on your own label, Beast Reality.
Back when we were recording our second album Iscariot the Ladder, I’d always had this idea of Beast Reality Records – it’s always the daydream that you can release off your own record label. After our contract ended we recorded this album and thought “Right, how are we going to release this?” We had interest from labels and we considered it, but, as everyone knows, the industry’s fucked at the moment and, no disrespect to any of the labels, when we actually got through the door and started talking with them, we thought, well what are we actually getting from a record company? We’d financed and produced the album ourselves, so all we’d be getting from them would be manufacture and distribution.

Lupen Crook by Faye West.

Do you feel like musicians are, in a sense, starting to get their revenge on the more exploitative elements of the industry?
The music industry’s being returned back to the people who are actually creating the music, and now it’s up to them how they want to do it. One of the good things about the self-release aspect is that it can keep up with the amount of material we want to release. Industry people have this thing of “you can’t release too much”, but the whole thing with Beast Reality will be to get material out as much as possible – I’d like to be looking at two to three EPs and an album a year.

In the early days you were courted by the NME and were in the NME Cool List in 2005, but this always seemed to be at odds with what you were about.
It completely threw me – it made me retreat hugely. For one thing, the song on that CD [First single Lucky 6 was included on a free CD with the NME] opened my music up to so many people. But I was a far more insecure person back then and I didn’t have my gang and my band around me. I’m never sure how much I suffered from all that – I think to a certain extent it was good, but on the other hand it was a bit of a diversion. But I’ve got no regrets, it was just something that happened and was, quite frankly, out of my control.

Your music is often described in the press as alt-folk, and you describe it as “fight folk”. What does the work “folk” mean to you in terms of music?
Folk means people – it’s peasant music. I don’t think folk music is anything to do with “the fox ran over the moon in the pale night sky” and all of that traditional stuff – I don’t really care about tradition. It’s storytelling – but then at the same time I think we’re a punk rock band really. I like fight folk because it’s got that storytelling aspect to it but also it’s sort of aggressive and I think that’s kind of who we are as individuals.

In recent times the Medway Towns have become known as a kind of hotbed of creative talent, and you’ve often been portrayed as being very much rooted in the area, in the same way that Billy Childish is. Why did you recently choose to move to London?
I’d been in Medway for too long and needed to get out. I feel there’s always the potential for something brilliant to happen there but everyone and everything, and this is why I love it, has turned really feral. To say there’s a scene there is bollocks but to say it’s got the potential for loads of great bands is definitely true. It comes in fits and bursts. There are occasions when everyone decides to get their shit together and not sit in their bedsits drinking and smoking, and when they do actually make the effort, it’s great – there’s something really thriving and exciting, but it never maintains itself because there isn’t really the opportunity for it to go anywhere outside of Medway. I moved to London because I’d walked down every alleyway, I’d drunk in every bar and I’d kind of done it all. Medway will trap you – it’s in a valley – but you can really lose yourself in London.

Your music has lots of references to Catholicism and religion – the song Scissor Kick from the new album talks about “a sprained cath-aholic”. In light of the controversy over the Pope’s recent visit to Britain, what does Catholicism mean to you and how does it feed into your music?
I was brought up with it and it’s in me. I’m very much a Catholic but I absolutely detest Catholicism quite frankly. I just think it’s really outdated and so irrelevant to anything. I think you should have faith – but faith in yourself, almost like individualism – you don’t need a God. I don’t reject everything to do with Catholicism, but I don’t see the point in an organised religion. There’s so many people of a certain generation who still sort of feel this guilt for certain things – I’m completely stricken with catholic guilt and it’s terrible.

Your music has always been hard to categorise and it’s sometimes difficult to detect your immediate influences. What bands or artists have had an influence on you musically?
Someone told me there’s a theory that the interests and experiences you have when you’re around eight years old go on to form the core of the person that you become. When I was eight I used to make little recordings, multi-tracking my Dad’s guitar and my Casio keyboard, and I started a band with the kids down the road, and in a weird way I haven’t actually progressed since I was eight years old – I’m doing the same thing, which actually makes me happy. At that age I was listening to AC/DC, Bon Scott era, and my school uniform, with the shorts, was the same as what Angus Young wore on stage. And Bon Scott was singing songs about sex and fighting and everything that my teachers and parents would detest, which is why my band was called Devil’s Disciples – completely like “I’m gonna piss you lot off”. Then when I was about nine my babysitter brought a compilation tape round with Carter USM on and I just fell in love with it. I think they influenced my lyrics quite a lot – Carter USM’s really down-to-earth wordplay with Bon Scott’s love of the three basics – sex, drugs and rock and roll.

You mention you’ve been playing in bands from a very early age. Has this always been what you’ve wanted to do?
It’s not even a case of that I wanted to do it from an early age – it’s what I decided to do. There’s only been one time in my life when I seriously considered giving up music and just leading a normal life. It was after I broke up my last band and I just packed it in and had a job delivering parcels in a van. I still used to bring my guitar with me in the van so I could play it when I was waiting for deliveries or whatever, and then one day my boss saw it and said, “What’s that?” He said “Look, you make your choice now. You can dick about on the guitar or you can be a parcel delivery man” and I just had this moment of clarity and quit. Then on my way home I got a phone call from my girlfriend saying that Tap n Tin Records wanted to sign me and that was that.

You’ve spoken in the past about having schizoaffective disorder, and last year you released The Curse of the Mirror Wicked EP to help publicise the YoungMinds mental health charity. Does this feed into your creativity?
It’s hard to tell. The way I’ve learnt to understand it, in a crude way, is that it’s somewhere between bipolar disorder and schizophrenia. I got told by a doctor when I was 19 that my obsession with music was actually making me more ill, and at certain moments in the past I’ve thought maybe they’re right, that it is a weird obsession. It’s kind of like a chicken and egg situation. But generally I think; I’ve made my bed and I’m lying in it. I have the occasional wonky period, but I feel lucky that I’m in a position where it’s kind of easier to live with than it might be for other people – because I don’t do a nine-to-five job and I get to write songs and paint pictures.

You make music, and also artwork, under the name Lupen Crook. Is this a character or is this really you?
I’ve always played around with names and I’ve always needed that. All my friends call me Mosh – that’s what I’ve been called since I was eight years old and I refused to be called anything other than that, even by teachers and my parents. I even called myself Jilted Jack Cann for a few years when I was in my last band, Bonzai Reservoir. Lupen Crook started off as a character idea, and now I kind of am that person. Names are almost nothing and everything, aren’t they? I’ve always liked the idea that you can set aside what you were before and, not invent a new persona, but find other perspectives within yourself to say “I’m not that person anymore, I’m this person now”, and that’s what I did with Lupen Crook.

“Right, home time”, says Crook, and with that, he disappears into the night. As I’m leaving, I’m struck by something he said: “I was a writer before I was a father and I was a writer before I was a husband. If I lost everything in the world, I’d still be a writer, because that’s the most important thing – to communicate, even if it’s just to myself.”

The Pros and Cons of Eating Out is released on October 4th on Beast Reality.

Categories ,AC/DC, ,Beast Reality, ,Billy Childish, ,Bon Scott, ,Bonzai Reservoir, ,Carter USM, ,Casio, ,Catholic, ,Devil’s Disciples, ,Jilted Jack Cann, ,Lucky 6, ,Lupen Crook, ,Medway Towns, ,Murderbirds, ,NME, ,Tap n Tin Records

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