Earlier last week I ventured down to Somerset House to see the eagerly anticipated SHOWstudio: Fashion Revolution exhibition which charts this rise of the iconic website from its creation in 2000. This large-scale retrospective of sorts was bursting to the seams with installations of some of the best videos, andinformation pills podcasts, sales interviews and most importantly– live projects. Split over two levels, dosage as I entered I was greeted with a room comprised entirely of mirrors that were designed to make each person entering ‘really’ look at their reflection. After a few moments of looking at myself and feeling rather vain and awkward I felt obliged to move on and make way for the hoards of teenagers waiting to pull pranks on each other and the non-suspecting public.
In the next room I found a giant 3-D sculpture of Naomi Campbell, which was linked to an etch-a-sketch computer where visitors could get involved and draw images which were in turn projected onto Naomi’s imposing frame. Interestingly I discovered after my visit that there were several hidden cameras dotted around the Naomi sculpture to record the best comments made by visitors, so I was very relieved that I had gone alone therefore having no one to talk to.
There were many great fashion moments and highlights peppered throughout this exhibition. I think the best was watching a loop of the project ‘More Beautiful Women’ which pays homage to Andy Warhol’s ‘Thirteen Most Beautiful Women’ screen tests of 1964. It’s based on a simple idea where Nick Knight invited several iconic models from the 1960’s through to the present day and asked them to stand in front of a video camera for two minutes. Models involved were Twiggy, Marie Helvin, Kate Moss, Liberty Ross, Stella Tennant and Gisele to name but a few. The best clip that I saw was that of Stephanie Seymour who looked rather bored throughout and remarked ‘This is the longest two minutes of my life!’ This was sheer brilliance in its subversive undertones both perpetuating and playing upon the underlying opinions most people have of models.
Another project that was popular with all visitors was the 2004 collaboration between Brad Pitt and SHOWstudio titled ‘Freedom of Love’. The short film depicted Pitt frantically painting over an enlarged passport sized photograph of himself adding in captions and blurbs, whilst reciting Breton’s sixty line poem of the same name. Whilst I was there this installation drew the biggest crowd and I believe was so popular due to Brad Pitt’s global fame and heartthrob status rather than everyone’s love of the great poet Breton.
Just when I thought the exhibition was coming to an end I stumbled upon a small section dedicated to Fashion Film, which was comprised of a reel of 16 short films created for SHOWstudio. My favourite was titled ‘Sheena is a Punk Rocker’ which depicted a topless and rather energetic Kate Moss doing a frantic pogo dance which saw her head banging. This was great as I feel it showed much more of her personality than you could possibly gleam from a still image and also had a funny moment near the end where she started ripping the paper background and gets so into it that she suddenly falls to the floor which is the finishing shot.
All fans of SHOWstudio.com would absolutely love this exhibition as it was great to see highlights of the work together in one place, but most importantly it was humbling to see how fashion in general has progressed during this past decade which I feel can partly be credited to Nick Knight and the wealth of contributors who make up the SHOWstudio team. Over the years it has really pushed the boundaries of what is possible and helped guide fashion into the mainstream sphere by applying and manipulating all the modern technologies available to bring it to the masses, whilst looking forward to new and innovative ways to make fashion even more engaging. SHOWstudio: Fashion Revolution is running until 20 December. COP15 is the next major convening of international governments to reconcile international protocol on climate change.
That’s a lot of long words, visit this what it boils down to is that we are boiling up and the world needs to tackle the issue of climate change head on.
World leaders and delegates from 189 countries will meet in December in Copenhagen to try and create initiatives and agree on ideas on how we can stop climate change destroying the planet.
COP15 is the fifteenth Conference of the Parties (COP) under the United Nations Framework Convention on Climate Change. Will this one be any different from the past COP’s, for sale which have so far failed to come up with any sound initiatives?
With corporations still on the offensive, pill putting millions of pounds into trying to discredit the certainty of climate change as well as governments bickering among each other about who needs to make the first and biggest steps, a deal at this point seems unlikely.
Radically reducing the effect of climate change requires radical change and a just transition in countries across the world. With governments scared of losing electorate and backing by the rich corporations making a swift change away from profit based economics and our consumer lifestyle to a sustainable future is never going to be likely.
The struggle to change to sustainable and clean energies shows the tight grip oil corporations have and how as a society we are intent on quick and cheap energy no matter the impact on the environment around us.
With climate change predominately affecting people in the global south, rich western countries are still slow in waking up to the cold hard fact that due to climate change we too will be living in a third world state unless we act now. It is time to gather a mass movement to say it can no longer be business as usual.
Over the past few years we have also been seeing a range of market based solutions to try and combat climate change, from carbon trading, tar sands and offsetting schemes, these initiatives fail to look at the root causes and are quick fix ideas that have so far failed to have any impact. Some kind of deal at Copenhagen could see a continuation of this. We need to make sure that we no longer look to using false solutions.
A huge movement of groups and individuals are at least going to make this COP one leaders will never forget, joining thousands of activists from around the world people are going to hold a week of protests from farmers actions to a peoples summit in the conference to show that we are no longer willing for governments and corporations to make the decisions and it is time to take the power back. There will be a chance to get involved from any level you are comfortable with, although with cold temperatures and swarms of police expected it is not something for the faint hearted.
Under the banner ‘Social Change not Climate Change,’ Climate Justice Action, a coalition of social groups have been organising like crazy to make it as easy as possible for people to get to Copenhagen and make their voices and presence be known.
Climate Justice Action will bring together concerned individuals directly affected by climate change from the global south, progressive NGO’s, indigenous peoples as well as you and others from around the UK. Buses are leaving from Leeds and London at a cut price of 100 pounds return that will give people a chance to get to know others and form an affinity with other protestors. Free accommodation is also being organised as we speak, in social centres and other spaces organised by CJA and networks in Copenhagen.
There are also activities, workshops and events in local neighbourhoods around the country in the next few weeks giving you the chance to get involved and meet up with other people and learn about what you can do and need to bring.
Copenhagen is seen as one of the last chances to create a huge global movement that will bring about the change we need before it is too late, make sure you are there to join the thousands of others in the biggest and most important protest of the decade.
Written by Adam S on Tuesday November 10th, 2009 3:36 pm
ed Helvetica, medications sans-serif; font-size: 12px;”>Reclaim Power Climate Justice Action at Cop15
On Wednesday the 16th of December the Reclaim Power! demo was due to hit the streets surrounding the Bella Centre (where the Cop15 was being held). The highlight of the Climate Justice Action calendar, it was towards this that the majority of British activists who had travelled as part of Climate Camp were working over the preceding days and with this in mind we retired to bed in a slightly wary frame of mind the night before. I’ve been the subject of a midnight raid before, and let me tell you, it’s pretty discombobulating to be woken by someone screaming in your ear “POLIIIIIIIIICE” as you scramble to take stock of the situation whilst pulling together some decent happy-to-be-arrested-in clothing (I was one of the 114 people arrested in the Iona School in Nottingham last April). This time I wasn’t so worried as we’d seen nothing of the police out at Voldparken, but when I awoke before daybreak and wandered bleary eyed betwixt bed and portaloo in my sexy checked pyjamas I was greeted by some friendly coppers at the exit, who had been sent to search everyone as they left the building. “Where are you going today?” “Oh, you know, just off to hang out in Copenhagen for a bit.” At 6am. There were plenty of ways we could have escaped without being checked if we’d wanted to, but it seems that coppers everywhere are, well, just a bit thick really.
Being searched before leaving Voldparken school on December 16th
It was a long cold ride into Copenhagen with my Bike Bloc affinity group (a trusted collective of people who have agreed to stick together and look after one another through an action), and from there onwards to the island where the Bella Centre is located. Unfortunately part of our group had decided to go on ahead without us and whilst we were waiting for them on a corner in a vaguely interest-arousing manner we were stopped and searched. This was not exactly unexpected, but one of our members had rather stupidly brought a map with him that had segments drawn onto it around the Centre, and for this he was detained immediately – a short day for him, straight to the holding cells.
Being searched on the way to the Bella Centre
Definitely not a suspicious map officer, definitely not.
The rest of us quickly cycled onwards and were soon turning in circuits around the residential backstreets near the Bella Centre, at first trying to evade the many many police vans patrolling the streets (a Netto supermarket proved a good venue to hide in at one point, the bemused staff unsure how to react), but eventually just giving ourselves up to the patrols – thereby delaying the police and hopefully preventing them from harassing other activists, particularly those in the Green Bloc who would be using more direct means to scale the fences of the centre. (So the theory went, we later learned they were all arrested long before they got anywhere near the perimeter.) One *lovely* officer even offered to kiss me, as you can hear in my audiocast here.
I find it’s always a nice touch to wear a fancy hat to a demonstration.
It’s quite hard to provide an overall analysis of what happened next as there was so much going on at once and even though I did my usual mad dashing about the place, of course I couldn’t cover it all. As the marchers formed a blockade (video here) and attempted to breach the gates we continued to hold the space on one side. I witnessed a man climb on top of a police van, only to be beaten with a baton then hauled down, and I repeatedly saw people being pulled from the crowd with reddened faces, weeping from the pepper spray that was being squirted with abandon at peaceful protestors on the front line.
Pepper spray sure looks like it hurts!
The Santa Block do their thang. In fancy dress no less.
A ‘hub’ – the way that Bike Bloc affinity groups gathered to discuss plans.
At our end there was far less aggression from the police, who seemed fairly bemused by our tactics, especially the ‘Santa Block‘ who cycled in circles chanting “ho ho ho”. Here’s an especially good video of me wobbling along on my bike as I try to tour between the two, nearly crashing into someone in the process. Between this a group of Climate Camp activists launched what looked like a large inflatable lilo over their heads towards the Bella Centre perimeter and indeed there was soon a ‘lilo bridge‘ angled across the moat into the scrubland surrounding the Bella Centre. Unfortunately this highly inventive approach to getting inside was destined to be thwarted by circumstances, as those who reached the other side were promptly arrested by a squad of riot cops.
Climate Campers made a lilo bridge to get into the Bella Centre. So inventive!
There was poetry, dancing in the street and even a call for the cops to give an activist a hug (amusing audioblog here) – all as we waited (since we couldn’t get in ourselves) to hear whether the delegates inside the Cop15 would be able to march out and join us for the planned People’s Assembly. It looked increasingly unlikely that they would be able to do so: we were later to find out the extreme lengths to which the police went to prevent them from leaving the Bella Centre – for shocking footage of the bassist in my band Green Kite Midnight being beaten with a baton see this Guardian video. At about 7 minutes in Tim can clearly be seen mouthing the words “peaceful protest” as he is whacked. He has had his fractured arm in a cast since then.
People’s Assembly outside the Bella Centre.
Instead activists from all over the world sat in circles on the cold road, discussing in groups of a dozen or so, how real life grassroots solutions could be applied to the crises that we face. For video footage of this see here. But the light was failing and all too soon it was over and the decision made to march back into central Copenhagen. By this point I was seriously cold and had a very wet foot due to running around in the scrubland and stepping into an icy cold bog. As the sky turned into a beautiful orange haze over the Bella Centre the Bike Bloc attempted to decide on a course of action, but a lack of clarity about how or what we should do led to a random diversion for some back onto the scrubland where we were immediately met by police on horseback. I decided to call it a day and together with Dave headed back towards the Klimaforum in search of a hot cup of tea and a radiator on which to dry my socks and shoes.
Final Bike Bloc hub to decide our next move… home.
Everyone should have a red bobble hat.
And orange fabric tied around their ankles. A must for every direct action.
The one fancy bike I saw: a Tall Bike ridden by a clown.
Homeward bound.
The following day a few Climate Campers decided that we should not leave Copenhagen without holding some kind of camp (since that’s what we’ve become so well known for), so in the evening about 50 of us rocked up to Hopenhagen, where we popped open a few tents (video here) and stood around chanting and thinking, ho hum, what shall we do next? Having been autonomously organised it wasn’t exactly the most considered of actions, but it was an interesting experiment in seeing how the police would react to a completely impromptu non-violent occupation. They started off on quite an aggressive footing, with one snatching a tent and ineffectually putting it into the bin, from whence it was speedily retrieved.
Setting up camp in Hopenhagen.
Oi! Give me that tent. No. It’s mine.
A particularly articulate young man gives an interview.
The brainchild of the action declared his ambition to stay put through the entire night (before popping open a can of beer) – not a desire shared by the majority present, what with the sub zero temperatures and lack of planning. However first there was some fun to be had in disrupting a television programme being broadcast from inside one of the alien green boxes – where a smarmy looking presenter caked in make up with slicked back hair (a man, I might add) steadfastly ignored the Caution: Greenwash banner being held up behind his head. I wasn’t sure what exactly this action was meant to achieve but was assured that this particular TV channel had been misrepresenting activists in its coverage, and that since they were talking about the Cop15 it was an ideal place to get our message across. By this point the cops had relaxed and we got into some entertaining conversations with them about the efficacy of our actions.
Greenwash on the television at Hopenhagen. He’s looking straight at me isn’t he?
Suddenly Tim was at my shoulder, one-handedly suggesting that we do a ceilidh, since Green Kite Midnight has always held ceilidhs at Climate Camp actions. But, there was only the two of us out of a band of six, no instruments and no amplification. Not a problem. Tim whipped out his harmonica, and laughing, I managed to call several dances, yelling from atop a concrete pillar holding aloft the giant Hopenhagen balloon above our heads. You can see footage here, but be warned, I’m loud – filming whilst calling being an up close and personal affair.
Green Kite Midnight performs their first international gig.
Erm, I’m not sure how we deal with this. Errr.
Swing your pardner! Ceilidh dancing in Hopenhagen with Climate Camp.
It’s like an alien ball isn’t it?
It was then back to an amusing last evening at the Voldparken School, what with an impromptu music video shot in one of the disused laboratories and a full on rave held in one of the air-locked antechambers far into the night, where I espied our ambitious young activist in the wee hours. The police gave him a lift all the way back to the school, keen to see both him and his tents dispatched safely back to the far reaches of the suburbs!
The crew for the Voldparken music video.
Playing the piano at Voldparken school.
A map shows the best skips in the area for food runs.
Your friendly reception staff! Only joking, we don’t do staff.
One of the final things I did in Copenhagen was to visit their most famous landmark; the mermaid, of course. It was beyond bitingly cold, and as I admired her temporary cohorts, some frozen penguins, I considered the probability of losing both my fingers and my toes to frostbite. Visitors from all over the world clearly saw this spot as the most emblematic place to stage a protest and during the short time we were there they came in their dozens with placards held aloft, cameras at the ready. Behind the Little Mermaid another special Cop15 sculpture reared out of the grey waves, a grotesquely oversized woman sat astride the shoulders of a skinny little man – the ‘Survival of the Fattest’ by Jens Galschiot and Lars Calmar.
The Little Mermaid with Survival of the Fattest and penguin friends.
Korean delegates protesting in front of the mermaid.
After cleaning up our accommodation (surreal audiocast of me peeling up the masking tape used to mark the fire lanes in our room here) as best we could the coach ride home from Copenhagen was, how shall I put it… interesting. Even though I decided early on (as we sat delayed, due to snow, in a traffic jam into Calais) to practice the art of zen, I, along with everyone else, was starting to lose the will to live by the time we had sat in a car park in Dover for several hours whilst our increasingly irate drivers tried to figure out where their relief drivers were to ferry us the last hour home to London, eventually both completely losing their rag and threatening to kill their employers.
Trying to sort out Climate Camp coaches home in the hallway.
Snowball fights whilst we wait to catch the ferry home.
White Cliffs of Dover by floodlight.
White Cliffs of Dover by night. OH GOD WE HAVEN’T MOVED IN HOURS.
Since I got home there has been plenty of editorial commentary on what happened inside the Cop15 summit and what exactly our actions did or didn’t achieve. From my point of view (and maybe I should keep this to myself), I didn’t ever for one moment think that we would actually get into the Bella Centre – it was immensely well fortified and we didn’t have the strength in numbers or ability to get inside – so I wasn’t exactly surprised when we didn’t. As a whole it was quite hard to take part in the Climate Justice Action pre-planning meetings because of the distance between activist venues, which I think resulted in many people thinking that others would be more organised than themselves and lead the way. The Bike Bloc felt a bit disparate – we lost half our affinity group, split up and regrouped several times – taking our lead from the people around us rather than from the pre-planned messages that I was expecting to be sent out via text. It was a shame that Double Trouble (confiscated earlier in the week by the police looking for our fictional “machine of resistance”) and the Sound Swarm never made it to the gates, (at least not to my knowledge). As usual we were underprepared to make fast decisions, which led to a confused ending to the Bike Bloc during the final march away from the Bella Centre. On the plus side the Bike Bloc was massively effective in blockading the street and confusing the police, and was a beautifully mobile way to take part in the action – I think it will lead to further creative direct action on bikes in the future.
Thankyou in snow at the Voldparken School and to all the activists who worked so hard to make sure our stay was enjoyable.
On a wider scope, although many people were seriously disappointed that we were unable to get into the Bella Centre to hold the People’s Assembly as promised, I feel that our very presence served to highlight the inequality of the whole Cop15 process, which has only now begun to filter down to those disappointed NGOs who were so certain they could use the current ways of meeting to facilitate meaningful change. Because I never for one moment believed that any good decisions could come out of the Cop15 I felt more than vindicated by the dismal outcome, but for many of the NGOs who were excluded from the Bella Centre it must have been a wake up call and one can only hope they have been radicalised. We were there to show that there is a strong global grassroots movement ready to challenge the accepted status quo, and those relationships cultivated on the front line will be crucial in taking creative action in 2010. System Change Not Climate Change now feels firmly on the agenda. I feel as though this is just the beginning…
Read Part 1 of my trip to Copenhagen here: wherein I describe our journey over by coach.
Read Part 2 of my trip to Copenhagen here: wherein I attend lots of actions and fix up my bike.
Written by Amelia Gregory on Wednesday January 20th, 2010 6:32 pm
The biopic. It’s a strange bird. When your subject is Ray Charles or Johnny Cash the thing must write itself. The drugs! The women! The soundtrack! But it’s this kind of lazy obviousness that has put me off watching the likes Ray and Walk the Line, stomach perhaps to my discredit. They’re probably as good as everyone says they are. If they’re not? If they’re as hackneyed and clichéd as I expected? Well, dosage at least I can enjoy the music.
With Sex & Drugs & Rock n Roll I couldn’t help myself. I’ve been a long-time admirer of Ian Dury’s work and especially the juxtaposition between his seemingly knockabout lyrics and the tight musicianship of the Blockheads. I caught some of the hype, information pills a couple of Andy Serkis interviews about his preparation for the starring role and that was it. My distaste for the biopic was gently put aside for an evening.
If you’ve seen the poster, you’ll already know that Serkis is magnificent. And if you’ve got any sense you’ll also know and love the music (or be on your way to discover it round about now). Right there are two reasons you should go and see this film. Another is a wonderful opening credit sequence by none other than Sir Peter ‘I’ve done more than just the Sgt Pepper cover, you know’ Blake. But don’t expect to get much else. Fair performances from the rest of the cast and attention to period detail do not raise this biopic from goodness to greatness.
The film is in loose chronological order, with the occasional flashback to a troubled childhood. The story touches upon Dury’s contracting of polio and subsequent disability, his relationship with his father, his unstable family life and a tempestuous time with his bandmates and, of course, the music. It rattles through, giving us the odd bit on how much of a bastard Dury could be, or how he came up with some of his most famous songs. But there’s little depth and no tension to hold it all together. The film opens with Serkis’s Dury saying something along the lines of ‘Never let the truth get in the way of a good story’, but then the film appears to do just that.
This film is clearly a labour of love, a love for both for the music and for Dury himself. But if there’s a good story arc in Dury’s eventful, colourful, lyrical life – a beginning followed by a middle and an end – the writers haven’t found it. For example, Dury’s mate the Sulphate Strangler is introduced grandly, but then does very little and exits the story in a bit of throwaway dialogue. And the relationship between Dury and his son Baxter forms most of the film’s action, but I didn’t get wrapped up in a real story. It’s just a bunch of stuff that happened.
But these are niggles. What you want at the very least from this kind of film is an outstanding central performance and excellent music, both of which Serkis himself gives. He sang Dury’s words so well that I couldn’t keep his face out of my mind when later listening to the original recordings. What you also want is an insight to the real Ian Dury. Despite it not having as good a plot as, say, 24 Hour Party People, it does give you an idea of what sort of man he was.
Despite ticking the essential boxes, the film doesn’t have that extra bit to make me watch the film rather than listen to the records. As far as I’m concerned, the biopic can be rather tricky, but this one deserves to do very well.
The biopic. It’s a strange bird. When your subject is Ray Charles or Johnny Cash the thing must write itself. The drugs! The women! The soundtrack! But it’s this kind of lazy obviousness that has put me off watching the likes Ray and Walk the Line, salve perhaps to my discredit. They’re probably as good as everyone says they are. If they’re not? If they’re as hackneyed and clichéd as I expected? Well, at least I can enjoy the music.
With Sex & Drugs & Rock n Roll I couldn’t help myself. I’ve been a long-time admirer of Ian Dury’s work and especially the juxtaposition between his seemingly knockabout lyrics and the tight musicianship of the Blockheads. I caught some of the hype, a couple of Andy Serkis interviews about his preparation for the starring role and that was it. My distaste for the biopic was gently put aside for an evening.
If you’ve seen the poster, you’ll already know that Serkis is magnificent. And if you’ve got any sense you’ll also know and love the music (or be on your way to discover it round about now). Right there are two reasons you should go and see this film. Another is a wonderful opening credit sequence by none other than Sir Peter ‘I’ve done more than just the Sgt Pepper cover, you know’ Blake. But don’t expect to get much else. Fair performances from the rest of the cast and attention to period detail do not raise this biopic from goodness to greatness.
The film is in loose chronological order, with the occasional flashback to a troubled childhood. The story touches upon Dury’s contracting of polio and subsequent disability, his relationship with his father, his unstable family life and a tempestuous time with his bandmates and, of course, the music. It rattles through, giving us the odd bit on how much of a bastard Dury could be, or how he came up with some of his most famous songs. But there’s little depth and no tension to hold it all together. The film opens with Serkis’s Dury saying something along the lines of ‘Never let the truth get in the way of a good story’, but then the film appears to do just that.
This film is clearly a labour of love, a love for both for the music and for Dury himself. But if there’s a good story arc in Dury’s eventful, colourful, lyrical life – a beginning followed by a middle and an end – the writers haven’t found it. For example, Dury’s mate the Sulphate Strangler is introduced grandly, but then does very little and exits the story in a bit of throwaway dialogue. And the relationship between Dury and his son Baxter forms most of the film’s action, but I didn’t get wrapped up in a real story. It’s just a bunch of stuff that happened.
But these are niggles. What you want at the very least from this kind of film is an outstanding central performance and excellent music, both of which Serkis himself gives. He sang Dury’s words so well that I couldn’t keep his face out of my mind when later listening to the original recordings. What you also want is an insight to the real Ian Dury. Despite it not having as good a plot as, say, 24 Hour Party People, it does give you an idea of what sort of man he was.
Despite ticking the essential boxes, the film doesn’t have that extra bit to make me watch the film rather than listen to the records. As far as I’m concerned, the biopic can be rather tricky, but this one deserves to do very well.
The biopic. It’s a strange bird. When your subject is Ray Charles or Johnny Cash the thing must write itself. The drugs! The women! The soundtrack! But it’s this kind of lazy obviousness that has put me off watching the likes Ray and Walk the Line, visit web perhaps to my discredit. They’re probably as good as everyone says they are. If they’re not? If they’re as hackneyed and clichéd as I expected? Well, store at least I can enjoy the music.
With Sex & Drugs & Rock n Roll I couldn’t help myself. I’ve been a long-time admirer of Ian Dury’s work and especially the juxtaposition between his seemingly knockabout lyrics and the tight musicianship of the Blockheads. I caught some of the hype, a couple of Andy Serkis interviews about his preparation for the starring role and that was it. My distaste for the biopic was gently put aside for an evening.
If you’ve seen the poster, you’ll already know that Serkis is magnificent. And if you’ve got any sense you’ll also know and love the music (or be on your way to discover it round about now). Right there are two reasons you should go and see this film. Another is a wonderful opening credit sequence by none other than Sir Peter ‘I’ve done more than just the Sgt Pepper cover, you know’ Blake. But don’t expect to get much else. Fair performances from the rest of the cast and attention to period detail do not raise this biopic from goodness to greatness.
The film is in loose chronological order, with the occasional flashback to a troubled childhood. The story touches upon Dury’s contracting of polio and subsequent disability, his relationship with his father, his unstable family life and a tempestuous time with his bandmates and, of course, the music. It rattles through, giving us the odd bit on how much of a bastard Dury could be, or how he came up with some of his most famous songs. But there’s little depth and no tension to hold it all together. The film opens with Serkis’s Dury saying something along the lines of ‘Never let the truth get in the way of a good story’, but then the film appears to do just that.
This film is clearly a labour of love, a love for both for the music and for Dury himself. But if there’s a good story arc in Dury’s eventful, colourful, lyrical life – a beginning followed by a middle and an end – the writers haven’t found it. For example, Dury’s mate the Sulphate Strangler is introduced grandly, but then does very little and exits the story in a bit of throwaway dialogue. And the relationship between Dury and his son Baxter forms most of the film’s action, but I didn’t get wrapped up in a real story. It’s just a bunch of stuff that happened.
But these are niggles. What you want at the very least from this kind of film is an outstanding central performance and excellent music, both of which Serkis himself gives. He sang Dury’s words so well that I couldn’t keep his face out of my mind when later listening to the original recordings. What you also want is an insight to the real Ian Dury. Despite it not having as good a plot as, say, 24 Hour Party People, it does give you an idea of what sort of man he was.
Despite ticking the essential boxes, the film doesn’t have that extra bit to make me watch the film rather than listen to the records. As far as I’m concerned, the biopic can be rather tricky, but this one deserves to do very well.
The biopic. It’s a strange bird. When your subject is Ray Charles or Johnny Cash the thing must write itself. The drugs! The women! The soundtrack! But it’s this kind of lazy obviousness that has put me off watching the likes Ray and Walk the Line, visit web perhaps to my discredit. They’re probably as good as everyone says they are. If they’re not? If they’re as hackneyed and clichéd as I expected? Well, at least I can enjoy the music.
With Sex & Drugs & Rock n Roll I couldn’t help myself. I’ve been a long-time admirer of Ian Dury’s work and especially the juxtaposition between his seemingly knockabout lyrics and the tight musicianship of the Blockheads. I caught some of the hype, a couple of Andy Serkis interviews about his preparation for the starring role and that was it. My distaste for the biopic was gently put aside for an evening.
If you’ve seen the poster, you’ll already know that Serkis is magnificent. And if you’ve got any sense you’ll also know and love the music (or be on your way to discover it round about now). Right there are two reasons you should go and see this film. Another is a wonderful opening credit sequence by none other than Sir Peter ‘I’ve done more than just the Sgt Pepper cover, you know’ Blake. But don’t expect to get much else. Fair performances from the rest of the cast and attention to period detail do not raise this biopic from goodness to greatness.
The film is in loose chronological order, with the occasional flashback to a troubled childhood. The story touches upon Dury’s contracting of polio and subsequent disability, his relationship with his father, his unstable family life and a tempestuous time with his bandmates and, of course, the music. It rattles through, giving us the odd bit on how much of a bastard Dury could be, or how he came up with some of his most famous songs. But there’s little depth and no tension to hold it all together. The film opens with Serkis’s Dury saying something along the lines of ‘Never let the truth get in the way of a good story’, but then the film appears to do just that.
This film is clearly a labour of love, a love for both for the music and for Dury himself. But if there’s a good story arc in Dury’s eventful, colourful, lyrical life – a beginning followed by a middle and an end – the writers haven’t found it. For example, Dury’s mate the Sulphate Strangler is introduced grandly, but then does very little and exits the story in a bit of throwaway dialogue. And the relationship between Dury and his son Baxter forms most of the film’s action, but I didn’t get wrapped up in a real story. It’s just a bunch of stuff that happened.
But these are niggles. What you want at the very least from this kind of film is an outstanding central performance and excellent music, both of which Serkis himself gives. He sang Dury’s words so well that I couldn’t keep his face out of my mind when later listening to the original recordings. What you also want is an insight to the real Ian Dury. Despite it not having as good a plot as, say, 24 Hour Party People, it does give you an idea of what sort of man he was.
Despite ticking the essential boxes, the film doesn’t have that extra bit to make me watch the film rather than listen to the records. As far as I’m concerned, the biopic can be rather tricky, but this one deserves to do very well.
Last Saturday and Sunday the first Climate Camp regional gathering took place in London. It was the first chance for the group to discuss future direction and specific plans and activities for 2010 in a more London-specific context, price and a chance for me, a Climate Camp virgin, to finally discover what the meetings were like. Saturday morning saw 80 people packed into the hall in Tottenham Chances, and this soon became about 200. I suppose I was wary before the meeting, many loosely political meetings I’ve been to in the UK and abroad have involved flaring tempers, a battle consisting purely of the defence of individual and collective egos, and one or two power-hungry people hogging the limelight preaching about ‘equality’ and ‘democracy’ having only ever theorised it but never practised it, and making everyone else want to vomit with boredom.
Instead, the Climate Camp facilitators did a truly brilliant job of making sure speakers kept to the point, the timetable was stuck to, and that specific questions were answered, while keeping the atmosphere friendly, inclusive and very creative. They were lively, assertive and meticulously organized, but down to earth and not annoying…no mean feat, so a thumbs up from me for even achieving that! A delicious, hearty vegan lunch was also provided on both days, of which most of the food was skipped.
[Many thanks to Amelia for photos]
I could not make it for a lot of the discussion (unfortunately I had to work in job no.2 for much of the weekend), but managed to catch up on everything thanks to the detailed tweets of the Climate Camp London Twitter account. So here’s an overview of what happened, a mixture of their tweets and my own notes:
An initial de-brief on Copenhagen opened up the discussion. It was agreed by the majority that although COP15 was a failure on the international political level, it gave a huge opportunity for a lot of parallel action and discussions to take place and highlighted on a large scale that the traditional political system isn’t working.
One of the first topics of discussion was the need for the Climate Camp movement to diversify and create more local and international outreach, and to make social justice and education a central focus. As an example of local outreach we heard about Ward’s Corner in Tottenham, a community development which residents are fighting for after plans to knock it down and build (surprise, surprise) new, expensive apartment buildings.
The need to engage on a global scale was also discussed. There was a brief, informative presentation on the history of Haiti, and a lot of discussion on how the problems there are exacerbated by man-made environmental degradation and capitalism. The group then discussed what could be done to help Haiti collectively. It was agreed that Climate Camp should continue to deal with big systemic changes (highlighting current democratic deficit) rather than only lifestyle changes like 10:10. It was also agreed that any action taken by Climate Camp must focus on providing positive alternatives and not just being critical. Rather than raising awareness, which many NGOs already do so well, the approach of Climate Camp should be more solutions-focused. Localised meetings were a strong theme of the gathering. It was argued that they would allow more local outreach, and allow more people to attend and find out about Climate Camp. Meeting in smaller, more local groups would also allow for more discussion and participation. Many people expressed concerns about a loss of identity within the movement as a whole, lack of communication between groups and loss of focus. This was coupled with the fact that it may also be difficult to form large enough groups in certain areas of London. It was evident however, that the advantages and need to try the idea out outweighed most fears. It was broadly agreed that local meetings should be tried out, with alternating London-wide meetings every other week.
One of the final topics of discussion was about whether Climate Camp should officially endorse the Klimaforum declaration, drawn up during COP15. No consensus was reached however, and it was agreed that this issue needs to be studied and discussed in more detail.
Future possible gatherings and action were discussed, including whether it would be wise to demonstrate on May Day. There was much talk about making sure that large groups of people are not isolated by Climate Camp demonstrations. It was clear there were varying views on the nature and outcomes of direct action and protest. Despite this, almost everyone agreed that action must be solutions-focused and offer positive alternatives, rather than being seen as only critical. After two days of much impassioned discussion, little official consensus was actually reached. However, as one facilitator pointed out, a lot of ground was covered and no hurried, bad decisions were made.
There will be another, smaller meeting at SOAS this (Tuesday) evening, so if you’re curious or keen to get involved in some way, it’s worth checking out their website and coming along to listen and have your say.
[The great KidsCorner]
Written by Zofia Walczak on Tuesday January 19th, 2010 12:09 pm
So, page Lets tackle the name situation. I was on your blog reading the suggestions that fans sent you and my favourites were Rad Stewert and Wasabi Lube…
J: Oh, I don’t like that one at all!
That was my favourite!
J: You can have it! I dunno if you play but whoever suggested that would be stoked to know that there was a band called it I’m sure.
Pyramiddd was the one to go with?
R: Not necessarily, I fucking hate it.
J: Not really, I kinda hate Pyramiddd too.
I got that vibe when I read that blog, there seemed to be a little tension surrounding the issue…
J: The thing that sucked was that we had to pick it so quick. We rushed into it, We were releasing our 7” here and everyone was like “What the fuck is your name, you need to pick a name so we can release this” So we were like – I guess this is it.
R: That was the one that we agreed on more than any other name, out them all.
J: Master Control was close and Trust Fund was close. They were the two runners up.
R: We had some other ones we picked. But, We picked ones and we liked it for a day and the next day we hated it. But there’s no such thing as a good band name. Like Radiohead sucks. That’s a stupid band name.
There was another band called Starfucker, Can they have it, are they worthy?
J: Yeah they can have it, It’s a stupid fucking name!
R: Starfucker is a bad name too.
J: It was a joke! We didn’t think we would be touring the US let alone coming to Europe and Japan if we had any kinda foresight we would have picked a better name a long time ago. Its like getting married, a joke that goes too far… Never again!
Another thing I saw on your Myspace was the Las Vegas episodes…
J: That was funny, That dude talking bout the cist! I dunno how he saw it, I like bent over to pick up a key and he was like “Aahh cist there”
R: Its not even that big!
Are you guys filming what your doing over here?
J: Yeah we have, We have mainly been filming in the car because that is all we do. It takes hours to get everywhere, but its pretty, the architecture is pretty. Have we filmed anything interesting?
R: I filmed the red light district. That was difficult, your not meant to.
J: He got flipped off.
The Internet told me about the Target commercial, One of your tracks feature on it?
J: Unfortunately, that’s the way it is now- that licensing your songs to commercials is a way to make money. Which is better way of making money than parking cars for me.
Yeah, but its does get a lot of people to hear your music that wouldn’t necessarily hear it…
R: Yeah, I didn’t know that people did this but people will actually find the songs used in commercials and find out who the band is. I didn’t know that was a thing because I don’t have a TV. Target has great music on their commercials.. plus Target has great things at great prices! Make sure you go to target! Today!
“Medicine” is your first release over here, Is this a good representation of what is to come with the album, or is it not that far on?
J: It’s not that far on but it seems mostly a little darker than stuff we have so far. The new idea is a 30 minute dance block-all the same tempo and songs that fade into each other. Maybe it will b like that. I dunno about “Medicine”, We didn’t really pick that. Other people were like “This will b a good song” So we were like, “Alright, do what you want.”.
R: Really every song is a single on the album!
Sorry for the “Smash Hits” stylee question, But What your medicine for winter?
R: Most the things that make me feel good, make me feel bad later
J: I have been really homesick on this tour. I just started dating someone I really like so we are gonna take a trip to LA I’m excited about that. I’ll be all warm all my friends will be cold in Portland. I have been eating lots of good food like cantrell mushrooms chopped up with pasta.
R: That’s another great thing bout Portland, You can get so many great vegetables. That’s my winter medicine- I like cooking and baking pies.
J: He is an amazing cook!
R: I like to save my vegetable ends, put them in a big plastic bag in your freezer then boil it and it makes good vegetable broth. Keep all your ends and boil for a few hours = Perfect, amazing vegetable broth.
J: I want ask you how to make granola-he makes really good granola. He is like Mom, he would make us sandwiches when we started on tour.
R: I don’t do it anymore now, I get tired. I’m to busy now. I have a kid. If I make granola while my kid is with me the kid will end up in the granola.
The first thing I thought when I heard “Medicine” was that you guys played a lot of video games in the 90s?
J: Yeah, That’s really true. 007 was my favourite video game from the 90s on N64. Listening to The Fugees album on repeat for hours on end.
R: I was a Nintendo system kid. I never moved beyond that. I played the Sega Genesis once, but that’s it.
J: Genesis was good.
I wasn’t a Sega fan, Nintendo all the way..
Both: Yeah
J: But I think Sega had, Mortal Combat, that was rad.
R: Yeah totally, Sega had Road Rash and Sonic the Hedgehog.
J: Sonic was rad too.
With the video, it’s such a colourful song but black and white, any reason?
J: I think it was easier for Andrew to make-he’s our friend, he is learning the programmes.
R: I think its fitting, I think the video is still very colourful, l like the dancing in black and white, it can bring out the movement. Whether or not that was intentional or not, I think It works really well.
I kind of came to my own conclusion that you were really into what Beyoncé does right now?
R: Her video was after ours!
J: That “Single Ladies” video was amazing though!
With the black and white thing and also all the moves being busted out all over the place I assumed she was one of you creative influences?
R: I like her for sure, I have total respect for her she’s queen diva. Neal Medlyn, a comedian/performance artist came to Portland and did “The Beyoncé Experience” and wore a wig and had gay dancers with him and that was one of my favourite shows ever. Yeah, so that was inspiring!
What’s your signature dance move, I know you defiantly got one Ryan from that at the end of the set? (He owned the floor)
J: I don’t go out, I don’t dance. Only on tour.
R: I love when he does though, its awesome!
J: It’s horrible!
R: I don’t dance like on stage when I got out, I tone it down, I cant go out on a dancefloor like BLUGHG, Some things are strictly for performance but for the most part when im around other people I don’t go too crazy I respect peoples space.
J: What that called, grinding though, that’s always nice. That’s how you get laid thts how it happens. You like it? Love it
R: Yeah, it doesn’t matter you just find someone you like!
J: That’s how it happens!
R: It’s very primal.
What live acts do you aspire to be as good as?
J: Of Montreal are amazing live! We played with them at Monolith festival, Colorado. They really put a lot of effort into putting on a live show. They have a lot of thought- interesting clothes, people coming out doing crazy shit.
R- I don’t even like Of Montreal that much, but live is amazing for sure. There aren’t that many live shows, I don’t really know, There just aren’t many good live bands…Broadcast they don’t do much, but they have a certain energy while they are playing that draws you in.
J: Deerhunter’s great live, they are one of my favourites.
What should people be prepared for when they see you live?
R: I like it when people don’t know what to expect, when people don’t know who we are. When there’s some mystery about it. I like going to something and not knowing anything about it and then when its really good, it being awesome like makes me feel like I have a secret now.
J: Sometimes you can see Keil’s junk when he is playing drums, like a lot because he wears dresses. Be prepared.
So, abortion Lets tackle the name situation. I was on your blog reading the suggestions that fans sent you and my favourites were Rad Stewert and Wasabi Lube…
J: Oh, I don’t like that one at all!
That was my favourite!
J: You can have it! I dunno if you play but whoever suggested that would be stoked to know that there was a band called it I’m sure.
Pyramiddd was the one to go with?
R: Not necessarily, I fucking hate it.
J: Not really, I kinda hate Pyramiddd too.
I got that vibe when I read that blog, there seemed to be a little tension surrounding the issue…
J: The thing that sucked was that we had to pick it so quick. We rushed into it, We were releasing our 7” here and everyone was like “What the fuck is your name, you need to pick a name so we can release this” So we were like – I guess this is it.
R: That was the one that we agreed on more than any other name, out them all.
J: Master Control was close and Trust Fund was close. They were the two runners up.
R: We had some other ones we picked. But, We picked ones and we liked it for a day and the next day we hated it. But there’s no such thing as a good band name. Like Radiohead sucks. That’s a stupid band name.
There was another band called Starfucker, Can they have it, are they worthy?
J: Yeah they can have it, It’s a stupid fucking name!
R: Starfucker is a bad name too.
J: It was a joke! We didn’t think we would be touring the US let alone coming to Europe and Japan if we had any kinda foresight we would have picked a better name a long time ago. Its like getting married, a joke that goes too far… Never again!
Another thing I saw on your Myspace was the Las Vegas episodes…
J: That was funny, That dude talking bout the cist! I dunno how he saw it, I like bent over to pick up a key and he was like “Aahh cist there”
R: Its not even that big!
Are you guys filming what your doing over here?
J: Yeah we have, We have mainly been filming in the car because that is all we do. It takes hours to get everywhere, but its pretty, the architecture is pretty. Have we filmed anything interesting?
R: I filmed the red light district. That was difficult, your not meant to.
J: He got flipped off.
The Internet told me about the Target commercial, One of your tracks feature on it?
J: Unfortunately, that’s the way it is now- that licensing your songs to commercials is a way to make money. Which is better way of making money than parking cars for me.
Yeah, but its does get a lot of people to hear your music that wouldn’t necessarily hear it…
R: Yeah, I didn’t know that people did this but people will actually find the songs used in commercials and find out who the band is. I didn’t know that was a thing because I don’t have a TV. Target has great music on their commercials.. plus Target has great things at great prices! Make sure you go to target! Today!
“Medicine” is your first release over here, Is this a good representation of what is to come with the album, or is it not that far on?
J: It’s not that far on but it seems mostly a little darker than stuff we have so far. The new idea is a 30 minute dance block-all the same tempo and songs that fade into each other. Maybe it will b like that. I dunno about “Medicine”, We didn’t really pick that. Other people were like “This will b a good song” So we were like, “Alright, do what you want.”.
R: Really every song is a single on the album!
Sorry for the “Smash Hits” stylee question, But What your medicine for winter?
R: Most the things that make me feel good, make me feel bad later
J: I have been really homesick on this tour. I just started dating someone I really like so we are gonna take a trip to LA I’m excited about that. I’ll be all warm all my friends will be cold in Portland. I have been eating lots of good food like cantrell mushrooms chopped up with pasta.
R: That’s another great thing bout Portland, You can get so many great vegetables. That’s my winter medicine- I like cooking and baking pies.
J: He is an amazing cook!
R: I like to save my vegetable ends, put them in a big plastic bag in your freezer then boil it and it makes good vegetable broth. Keep all your ends and boil for a few hours = Perfect, amazing vegetable broth.
J: I want ask you how to make granola-he makes really good granola. He is like Mom, he would make us sandwiches when we started on tour.
R: I don’t do it anymore now, I get tired. I’m to busy now. I have a kid. If I make granola while my kid is with me the kid will end up in the granola.
The first thing I thought when I heard “Medicine” was that you guys played a lot of video games in the 90s?
J: Yeah, That’s really true. 007 was my favourite video game from the 90s on N64. Listening to The Fugees album on repeat for hours on end.
R: I was a Nintendo system kid. I never moved beyond that. I played the Sega Genesis once, but that’s it.
J: Genesis was good.
I wasn’t a Sega fan, Nintendo all the way..
Both: Yeah
J: But I think Sega had, Mortal Combat, that was rad.
R: Yeah totally, Sega had Road Rash and Sonic the Hedgehog.
J: Sonic was rad too.
With the video, it’s such a colourful song but black and white, any reason?
J: I think it was easier for Andrew to make-he’s our friend, he is learning the programmes.
R: I think its fitting, I think the video is still very colourful, l like the dancing in black and white, it can bring out the movement. Whether or not that was intentional or not, I think It works really well.
I kind of came to my own conclusion that you were really into what Beyoncé does right now?
R: Her video was after ours!
J: That “Single Ladies” video was amazing though!
With the black and white thing and also all the moves being busted out all over the place I assumed she was one of you creative influences?
R: I like her for sure, I have total respect for her she’s queen diva. Neal Medlyn, a comedian/performance artist came to Portland and did “The Beyoncé Experience” and wore a wig and had gay dancers with him and that was one of my favourite shows ever. Yeah, so that was inspiring!
What’s your signature dance move, I know you defiantly got one Ryan from that at the end of the set? (He owned the floor)
J: I don’t go out, I don’t dance. Only on tour.
R: I love when he does though, its awesome!
J: It’s horrible!
R: I don’t dance like on stage when I got out, I tone it down, I cant go out on a dancefloor like BLUGHG, Some things are strictly for performance but for the most part when im around other people I don’t go too crazy I respect peoples space.
J: What that called, grinding though, that’s always nice. That’s how you get laid thts how it happens. You like it? Love it
R: Yeah, it doesn’t matter you just find someone you like!
J: That’s how it happens!
R: It’s very primal.
What live acts do you aspire to be as good as?
J: Of Montreal are amazing live! We played with them at Monolith festival, Colorado. They really put a lot of effort into putting on a live show. They have a lot of thought- interesting clothes, people coming out doing crazy shit.
R- I don’t even like Of Montreal that much, but live is amazing for sure. There aren’t that many live shows, I don’t really know, There just aren’t many good live bands…Broadcast they don’t do much, but they have a certain energy while they are playing that draws you in.
J: Deerhunter’s great live, they are one of my favourites.
What should people be prepared for when they see you live?
R: I like it when people don’t know what to expect, when people don’t know who we are. When there’s some mystery about it. I like going to something and not knowing anything about it and then when its really good, it being awesome like makes me feel like I have a secret now.
J: Sometimes you can see Keil’s junk when he is playing drums, like a lot because he wears dresses. Be prepared.
So, adiposity Lets tackle the name situation. I was on your blog reading the suggestions that fans sent you and my favourites were Rad Stewert and Wasabi Lube…
J: Oh, I don’t like that one at all!
That was my favourite!
J: You can have it! I dunno if you play but whoever suggested that would be stoked to know that there was a band called it I’m sure.
Pyramiddd was the one to go with?
R: Not necessarily, I fucking hate it.
J: Not really, I kinda hate Pyramiddd too.
I got that vibe when I read that blog, there seemed to be a little tension surrounding the issue…
J: The thing that sucked was that we had to pick it so quick. We rushed into it, We were releasing our 7” here and everyone was like “What the fuck is your name, you need to pick a name so we can release this” So we were like – I guess this is it.
R: That was the one that we agreed on more than any other name, out them all.
J: Master Control was close and Trust Fund was close. They were the two runners up.
R: We had some other ones we picked. But, We picked ones and we liked it for a day and the next day we hated it. But there’s no such thing as a good band name. Like Radiohead sucks. That’s a stupid band name.
There is another band called Starfucker, Can they have it, are they worthy?
J: Yeah they can have it, It’s a stupid fucking name!
R: Starfucker is a bad name too.
J: It was a joke! We didn’t think we would be touring the US let alone coming to Europe and Japan if we had any kinda foresight we would have picked a better name a long time ago. Its like getting married, a joke that goes too far… Never again!
Another thing I saw on your Myspace was the Las Vegas episodes…
J: That was funny, That dude talking bout the cist! I dunno how he saw it, I like bent over to pick up a key and he was like “Aahh cist there”
R: Its not even that big!
Are you guys filming what your doing over here?
J: Yeah we have, We have mainly been filming in the car because that is all we do. It takes hours to get everywhere, but its pretty, the architecture is pretty. Have we filmed anything interesting?
R: I filmed the red light district. That was difficult, your not meant to.
J: He got flipped off.
The Internet told me about the Target commercial, One of your tracks feature on it?
J: Unfortunately, that’s the way it is now- that licensing your songs to commercials is a way to make money. Which is better way of making money than parking cars for me.
Yeah, but its does get a lot of people to hear your music that wouldn’t necessarily hear it…
R: Yeah, I didn’t know that people did this but people will actually find the songs used in commercials and find out who the band is. I didn’t know that was a thing because I don’t have a TV. Target has great music on their commercials.. plus Target has great things at great prices! Make sure you go to target! Today!
“Medicine” is your first release over here, Is this a good representation of what is to come with the album, or is it not that far on?
J: It’s not that far on but it seems mostly a little darker than stuff we have so far. The new idea is a 30 minute dance block-all the same tempo and songs that fade into each other. Maybe it will b like that. I dunno about “Medicine”, We didn’t really pick that. Other people were like “This will be a good song” So we were like, “Alright, do what you want.”.
R: Really every song is a single on the album!
Sorry for the “Smash Hits” stylee question, But What your medicine for winter?
R: Most the things that make me feel good, make me feel bad later
J: I have been really homesick on this tour. I just started dating someone I really like so we are gonna take a trip to LA I’m excited about that. I’ll be all warm all my friends will be cold in Portland. I have been eating lots of good food like cantrell mushrooms chopped up with pasta.
R: That’s another great thing bout Portland, You can get so many great vegetables. That’s my winter medicine- I like cooking and baking pies.
J: He is an amazing cook!
R: I like to save my vegetable ends, put them in a big plastic bag in your freezer then boil it and it makes good vegetable broth. Keep all your ends and boil for a few hours = Perfect, amazing vegetable broth.
J: I want ask you how to make granola-he makes really good granola. He is like Mom, he would make us sandwiches when we started on tour.
R: I don’t do it anymore now, I get tired. I’m to busy now. I have a kid. If I make granola while my kid is with me the kid will end up in the granola.
The first thing I thought when I heard “Medicine” was that you guys played a lot of video games in the 90s?
J: Yeah, That’s really true. 007 was my favourite video game from the 90s on N64. Listening to The Fugees album on repeat for hours on end.
R: I was a Nintendo system kid. I never moved beyond that. I played the Sega Genesis once, but that’s it.
J: Genesis was good.
I wasn’t a Sega fan, Nintendo all the way..
Both: Yeah
J: But I think Sega had, Mortal Combat, that was rad.
R: Yeah totally, Sega had Road Rash and Sonic the Hedgehog.
J: Sonic was rad too.
With the video, it’s such a colourful song but black and white, any reason?
J: I think it was easier for Andrew to make-he’s our friend, he is learning the programmes.
R: I think its fitting, I think the video is still very colourful, l like the dancing in black and white, it can bring out the movement. Whether or not that was intentional or not, I think It works really well.
I kind of came to my own conclusion that you were really into what Beyoncé does right now?
R: Her video was after ours!
J: That “Single Ladies” video was amazing though!
With the black and white thing and also all the moves being busted out all over the place I assumed she was one of you creative influences?
R: I like her for sure, I have total respect for her she’s queen diva. Neal Medlyn, a comedian/performance artist came to Portland and did “The Beyoncé Experience” and wore a wig and had gay dancers with him and that was one of my favourite shows ever. Yeah, so that was inspiring!
What’s your signature dance move, I know you defiantly got one Ryan from that at the end of the set? (He owned the floor)
J: I don’t go out, I don’t dance. Only on tour.
R: I love when he does though, its awesome!
J: It’s horrible!
R: I don’t dance like on stage when I got out, I tone it down, I cant go out on a dancefloor like BLUGHG, Some things are strictly for performance but for the most part when im around other people I don’t go too crazy I respect peoples space.
J: What that called, grinding though, that’s always nice. That’s how you get laid thts how it happens. You like it? Love it
R: Yeah, it doesn’t matter you just find someone you like!
J: That’s how it happens!
R: It’s very primal.
What live acts do you aspire to be as good as?
J: Of Montreal are amazing live! We played with them at Monolith festival, Colorado. They really put a lot of effort into putting on a live show. They have a lot of thought- interesting clothes, people coming out doing crazy shit.
R- I don’t even like Of Montreal that much, but live is amazing for sure. There aren’t that many live shows, I don’t really know, There just aren’t many good live bands…Broadcast they don’t do much, but they have a certain energy while they are playing that draws you in.
J: Deerhunter’s great live, they are one of my favourites.
What should people be prepared for when they see you live?
R: I like it when people don’t know what to expect, when people don’t know who we are. When there’s some mystery about it. I like going to something and not knowing anything about it and then when its really good, it being awesome like makes me feel like I have a secret now.
J: Sometimes you can see Keil’s junk when he is playing drums, like a lot because he wears dresses. Be prepared.
I thought they were nice boys.
If you think they are nice boys,
Follow them on twitter
Add them on myspace
AND BUY THERE TUNE HERE
So, ambulance Lets tackle the name situation. I was on your blog reading the suggestions that fans sent you and my favourites were Rad Stewert and Wasabi Lube…
J: Oh, information pills I don’t like that one at all!
That was my favourite!
J: You can have it! I dunno if you play but whoever suggested that would be stoked to know that there was a band called it I’m sure.
Pyramiddd was the one to go with?
R: Not necessarily, pills I fucking hate it.
J: Not really, I kinda hate Pyramiddd too.
I got that vibe when I read that blog, there seemed to be a little tension surrounding the issue…
J: The thing that sucked was that we had to pick it so quick. We rushed into it, We were releasing our 7” here and everyone was like “What the fuck is your name, you need to pick a name so we can release this” So we were like – I guess this is it.
R: That was the one that we agreed on more than any other name, out them all.
J: Master Control was close and Trust Fund was close. They were the two runners up.
R: We had some other ones we picked. But, We picked ones and we liked it for a day and the next day we hated it. But there’s no such thing as a good band name. Like Radiohead sucks. That’s a stupid band name.
There is another band called Starfucker, Can they have it, are they worthy?
J: Yeah they can have it, It’s a stupid fucking name!
R: Starfucker is a bad name too.
J: It was a joke! We didn’t think we would be touring the US let alone coming to Europe and Japan if we had any kinda foresight we would have picked a better name a long time ago. Its like getting married, a joke that goes too far… Never again!
Another thing I saw on your Myspace was the Las Vegas episodes…
J: That was funny, That dude talking bout the cist! I dunno how he saw it, I like bent over to pick up a key and he was like “Aahh cist there”
R: Its not even that big!
Are you guys filming what your doing over here?
J: Yeah we have, We have mainly been filming in the car because that is all we do. It takes hours to get everywhere, but its pretty, the architecture is pretty. Have we filmed anything interesting?
R: I filmed the red light district. That was difficult, your not meant to.
J: He got flipped off.
The Internet told me about the Target commercial, One of your tracks feature on it?
J: Unfortunately, that’s the way it is now- that licensing your songs to commercials is a way to make money. Which is better way of making money than parking cars for me.
Yeah, but its does get a lot of people to hear your music that wouldn’t necessarily hear it…
R: Yeah, I didn’t know that people did this but people will actually find the songs used in commercials and find out who the band is. I didn’t know that was a thing because I don’t have a TV. Target has great music on their commercials.. plus Target has great things at great prices! Make sure you go to target! Today!
“Medicine” is your first release over here, Is this a good representation of what is to come with the album, or is it not that far on?
J: It’s not that far on but it seems mostly a little darker than stuff we have so far. The new idea is a 30 minute dance block-all the same tempo and songs that fade into each other. Maybe it will b like that. I dunno about “Medicine”, We didn’t really pick that. Other people were like “This will be a good song” So we were like, “Alright, do what you want.”.
R: Really every song is a single on the album!
Sorry for the “Smash Hits” stylee question, But What your medicine for winter?
R: Most the things that make me feel good, make me feel bad later
J: I have been really homesick on this tour. I just started dating someone I really like so we are gonna take a trip to LA I’m excited about that. I’ll be all warm all my friends will be cold in Portland. I have been eating lots of good food like cantrell mushrooms chopped up with pasta.
R: That’s another great thing bout Portland, You can get so many great vegetables. That’s my winter medicine- I like cooking and baking pies.
J: He is an amazing cook!
R: I like to save my vegetable ends, put them in a big plastic bag in your freezer then boil it and it makes good vegetable broth. Keep all your ends and boil for a few hours = Perfect, amazing vegetable broth.
J: I want ask you how to make granola-he makes really good granola. He is like Mom, he would make us sandwiches when we started on tour.
R: I don’t do it anymore now, I get tired. I’m to busy now. I have a kid. If I make granola while my kid is with me the kid will end up in the granola.
The first thing I thought when I heard “Medicine” was that you guys played a lot of video games in the 90s?
J: Yeah, That’s really true. 007 was my favourite video game from the 90s on N64. Listening to The Fugees album on repeat for hours on end.
R: I was a Nintendo system kid. I never moved beyond that. I played the Sega Genesis once, but that’s it.
J: Genesis was good.
I wasn’t a Sega fan, Nintendo all the way..
Both: Yeah
J: But I think Sega had, Mortal Combat, that was rad.
R: Yeah totally, Sega had Road Rash and Sonic the Hedgehog.
J: Sonic was rad too.
With the video, it’s such a colourful song but black and white, any reason?
J: I think it was easier for Andrew to make-he’s our friend, he is learning the programmes.
R: I think its fitting, I think the video is still very colourful, l like the dancing in black and white, it can bring out the movement. Whether or not that was intentional or not, I think It works really well.
I kind of came to my own conclusion that you were really into what Beyoncé does right now?
R: Her video was after ours!
J: That “Single Ladies” video was amazing though!
With the black and white thing and also all the moves being busted out all over the place I assumed she was one of you creative influences?
R: I like her for sure, I have total respect for her she’s queen diva. Neal Medlyn, a comedian/performance artist came to Portland and did “The Beyoncé Experience” and wore a wig and had gay dancers with him and that was one of my favourite shows ever. Yeah, so that was inspiring!
What’s your signature dance move, I know you defiantly got one Ryan from that at the end of the set? (He owned the floor)
J: I don’t go out, I don’t dance. Only on tour.
R: I love when he does though, its awesome!
J: It’s horrible!
R: I don’t dance like on stage when I got out, I tone it down, I cant go out on a dancefloor like BLUGHG, Some things are strictly for performance but for the most part when im around other people I don’t go too crazy I respect peoples space.
J: What that called, grinding though, that’s always nice. That’s how you get laid thts how it happens. You like it? Love it
R: Yeah, it doesn’t matter you just find someone you like!
J: That’s how it happens!
R: It’s very primal.
What live acts do you aspire to be as good as?
J: Of Montreal are amazing live! We played with them at Monolith festival, Colorado. They really put a lot of effort into putting on a live show. They have a lot of thought- interesting clothes, people coming out doing crazy shit.
R- I don’t even like Of Montreal that much, but live is amazing for sure. There aren’t that many live shows, I don’t really know, There just aren’t many good live bands…Broadcast they don’t do much, but they have a certain energy while they are playing that draws you in.
J: Deerhunter’s great live, they are one of my favourites.
What should people be prepared for when they see you live?
R: I like it when people don’t know what to expect, when people don’t know who we are. When there’s some mystery about it. I like going to something and not knowing anything about it and then when its really good, it being awesome like makes me feel like I have a secret now.
J: Sometimes you can see Keil’s junk when he is playing drums, like a lot because he wears dresses. Be prepared.
I thought they were nice boys.
If you think they are nice boys,
Follow them on twitter
Add them on myspace
AND BUY THERE TUNE HERE
Loads of actions and demonstrations will be taking place this week and next in Copenhagen to protest against COP15 and to demand real effective solutions to the climate crisis…
Image courtesy of Climate Justice Action
Wednesday 9th December: A large meeting will be held to spread the word on the upcoming actions and demonstrations this week in Copenhagen.
19:00 – 21:00 Ragnhildgade 1.
Friday 11th December: Don’t Buy the Lie. A day of anti-corporate action, cialis 40mg because there is no such thing as green capitalism! 14:00.
Saturday 12th December: Global Day of Action. Synchronised international demonstrations to call on world leaders to take urgent action on climate change.
To help build for these demonstrations go to www.globalclimatecampaign.org
Saturday 12th December: Flood for Climate Justice! A ‘flood’ organised by Friends of the Earth, in which people will flood through the streets of Copenhagen with their demands for climate justice.
Sunday 13th December: Hit the production! A day encouraging groups to take action on our economic system, in Copenhagen and abroad. On Saturday morning a group will shut down Copenhagen Harbor with a mass blockade.
Tuesday 15th December: Resistance is ripe! Agriculture Action Day. The current food production system is responsible for over 32% of greenhouse gas emissions whilst farmers lose their land and livelihood, agri-businesses make millions. A day of action demanding an end to the false business solutions of the UNFCCC, No offsets from agriculture, a transition from the world’s capitalist economy toward a people-centered economy where peasants agriculture and local foods play a large role, an end to food waste and over-consumption, support for peasants access to land, support for small scale farming, sustainable agriculture and healthy food for all.
Wednesday 16th – 18th December: Reclaim Power! Push for Climate Justice! A confrontational mass action of non-violent civil disobedience. In opposition to the false solutions being discussed at the climate summit, the Peoples Assembly will highlight alternatives that provide real just solutions. The Assembly will begin at 12 noon in the main entrance to the Bella Centre inside the UN area.
Danish designers Sofie Hannibal and Nan Na Hvass (pronounced with a silent H) are in London on the eve of their new exhibition at the Kemistry gallery in Shoreditch, stomach running until 27th February. Having first been invited to put some work together a year ago, salveLosing The Plot was completed in just six weeks. Sparring off each other in that easy way that really really good friends and work partners do, the girls describe the thinking behind their colourful work and how their long relationship with the band Efterklang came about.
Hologram (detail)
When did you start working on the exhibition?
S: Well, we left everything to the last minute so the real work only began in November. Oh no, so did you have to work really hard over the Christmas break?
S: Well, no, Nan Na was in Istanbul for the New Year for five days with her boyfriend Rasmus… who is in the band Efterklang. Oh, I didn’t realise that was who I was speaking to when he emailed me!
N: It was our 5 year romantic anniversary but I had to pay for it [metaphorically], by working extra hard over Christmas.
S: I left her alone though, I only sent one email.
We’re sitting in the fancy boardroom of the ad agency above the gallery. I think I hear a cat. Nan Na shifts in her swivel chair. Miaow it goes. Hmmm. Not a cat then.
Do you like cats?
S: We have 3 feral cats living in the courtyard of our studio.
N: We’re quite crazy about animals – Sofie used to have a dog.
S: It died.
N: It was a fat barrel shaped one with little thin legs and a triangle head.
S: We did talk about getting another studio dog, but we have a studio elf instead; it’s made of wool and lies all stiff in a hole in the wall.
N: We picked it up in a fleamarket.
Spot the aforementioned elf.
What is your studio like?
S: It’s in the basement of an old house and we share it with others.
N: It’s an old building so all the walls are crumbling but it’s a charming area with lots of little shops.
Sometimes their studio is messy. (Not as messy as my house I’ll bet). And for the past four months they have had one full time intern who helps out with research and sewing.
Was there a brief for this exhibition?
N: No, but we decided to base the designs on statistics, data and numbers; taking inspiration from the patterns. At first we wanted to collect our own information from surveys [to turn into designs] but we felt it could be confusing and might tie us down. So we decided it would be more fun to be open ended because it forces you to focus more on the media without getting lost in the content. So there is no real information.
S: It’s a very free translation, so for instance with the pie charts – you can invent yourself what each colour represents.
N: We looked at Edward Tufte, [described as the “Leonardo ad Vinci of data” by the New York Times, fact fans]. He’s done 3 or 4 books where he collects different information and graphics and celebrates their prettiness. For example the diagrams and instructions for dancing steps.
S: We started in earnest on December 1st. Blimey!
N: No no we started on the screenprints before that, we were thinking about them in mid November, but it’s hard to find a screenprinting place in Copenhagen. So where did you do them?
S: We can’t actually say where we did them…
At this point dear reader I have been sworn to secrecy. So, my lips are sealed. You’re never going to know. Can I have a free print now please? [I really really want one. It’s so bad when you just want things isn’t it?]
What other mediums did you use?
N: Well, we’ve worked in wood before so it was a bit stupid to do it again because it’s very difficult, but we did… it’s very heavy, then you have to cut, sand, prime and use two layers of paint – so it’s very labour intensive and slow. Our studio is too small so we used Sofie’s basement party room.
Hologram (detail)
I hear you met at high school. Tell me the story.
S: We became friends pretty fast.
N: I remember dying your hair when I hadn’t known you very long!
S: Then we went to an after school art class together.
N: It goes to show that you should always draw in public so you can discover that it is a mutual interest! And weren’t you already working together professionally whilst you were still studying for your Ba in Visual Communications? I can’t imagine many British students being that motivated.
S: Well, there are only two design schools in Copenhagen so you have to be very motivated to get into one in the first place.
N: But in general I was a bit bored at design school…
S: So you seek out other stuff…
N: I started doing Efterklang covers whilst I was still at college. Where did you meet Rasmus?
N: I met him at a Christmas party – he tried to brag about being in a band but I didn’t know them so it had no effect.
The first artwork I remember seeing by Hvass&Hannibal, for the Efterklang album Parades
Funnily enough Sofie’s boyfriend is also in a band, Turboweekend. Soon the girls were painting the walls in nightclubs during their spare time. I always dreamt I’d have the cool boyfriend in a band when I was their age. Didn’t happen though. Pah.
An album cover for Turboweekend. You’ve got to love it, it’s bonkers!
What instruments do your boyfriends play?
N: They both play bass.
S: They’re the cool ones!
N: They play squash together sometimes but their music is pretty different…
S: …and we all go on holiday together.
Me, jealous? Never.
What kind of music does Turboweekend make?
N: I’m not sure what you’d call it, intelligent party music? Electropop?
S: I don’t know, I’d have to ask, but it’s pop music of some sort.
N: We listen to music constantly when we are designing, especially the bands we’re designing for. We just did some stuff for Clogs, which is a great band.
Your latest cover for Efterklang features ribbons being swirled in a courtyard, how did you design it?
N: We completed it just before we started work on this show. All the fabrics were hand dyed and sewn.
S: Then we practiced waving them around in the yard. (see pic below)
N: We worked on the set designs and costumes for two big Efterklang shows in Denmark last year, which was really fun.
S: Then Efterklang won an award for the best dvd release. Did you get a mention?
S: *pulls face*
Sofie painting ribbons.
Waving the ribbons in the courtyard.
Costumes designed by Hvass&Hannibal for the Efterklang concerts.
It’s a bit of a departure from your usual work, I get the sense you don’t really want to describe yourself just as illustrators?
N: We’ve been talking about this a lot lately; the illustrator label doesn’t quite feel right as we do lots of other stuff, but it’s the part of our work that’s been seen the most. We do a lot of spaces and interiors and we’d like to expand and do more art direction.
Interior of the Vega Nightclub.
In front of the wood panel Let’s Twist Again, a piece that exemplifies Hvass&Hannibal’s approach to colour.
How do you actually work together, in practice?
S: To begin with we used to send digital images back and forth, but now we work much more individually on specific projects and we talk a lot to make sure we agree on certain things like the colours.
Ah. The colours. If there is one thing that makes a Hvass&Hannibal piece so instantly recognisable it is their wonderful use of colour.
How do you come up with your colour schemes?
S: We have favourite combinations of colours
N: You can see this really well on the end wall [of the exhibition]. We have preferences for what works well next to another colour – this is usually a bright colour next to a complimentary but less bright version.
S: We tried to come up with new bold combinations for this show.
N: …I was surprised when I looked back at our work and we could see that even though we’ve tried to make specific choices about colour everything does look a bit similar from a distance.
What about the all white piece you did for the Danish Railways Magazine?
S: It started out as a papercut with lots of colours
N: …but then the drawing told us to do it.
And I’d love to see the stuff you did for Form Magazine in Germany. Didn’t you get to showcase some specialist print techniques? As you know I love to fiddle around with such things myself. What was your favourite?
S: We got to do some really nice pearly ones and glow in the dark, by my favourite one to work with was sand.
What about the food faces? I see you have one as your screensaver on your computer.
N: It was initially planned as a poster for a festival, but they didn’t use it. Did you eat your creations afterwards?
N: No! But I think we’d like to experiment with mediums more.
I particularly like a few of the other projects you mention on your website [which is very good readers, you really should check it out] – can you tell me a bit more about your Save the Rainforest with Art project?
N: We were asked to do a project with a youth design school and wanted the theme to inspire and then we donated some of the money [from sales] towards saving the rainforest. Maybe we have a bad conscience [about the content of our art]… but we’re driven by aesthetic pleasure, and we just love choosing shapes and patterns.
S: I think you can be political in your everyday life and in how you work. We are very conscious of how we consume in a private kinda way.
Before they can attend their solo private view Sofie and Nan Na are off to the launch night of the If You Could Collaborate exhibition down the road, where they are also exhibiting.
For If You Could Collaborate, with Anne Werner.
What did you do for If You Could Collaborate?
S: We did a piece with the artist and tailor Anne Werner, sort of an Op Art tapestry. How on earth did you find time to do that?
N: Luckily she did a lot of the sewing!
S: We need little helpers to help us.
What did you think of what happened in Copenhagen during the Cop15?
S: I think it’s ridiculous. We have a Reclaim the Streets protest every year and I once got caught between the police… We would call that kettling here.
S: Yes, so I got away somehow but my friend got arrested, as did another one who was just going to get the newspaper. It was so ridiculous that everyone who got arrested was able to sue the police. Did you attend any of the demos this time?
N: No, it’s quite sad but we were working all through December…
S: It’s strange, I feel we should’ve been participating but we had no time… and I actually got really frightened after the last time [being kettled] and that’s a real problem.
N: So we were just sitting in our basement, isolated from all the news.
Do you find that there peaks and troughs when it comes to earning money?
N: Yes!
S: We’re actually talking about making a long term plan to describe what we are doing and why. Do you have any plans afoot for the future?
S: We’re going to north China in April to do a lecture at an arts academy who found us through some books. Do you think you are they well known now?
S: It’s difficult to know… but I think we are, it depends who you ask! Any other plans?
S: We want to get a webshop and a blog but we’re going to have to wait till the end of January, and then we have a little helper who is going to do the programming.
N: Yes, a young man has offered himself. Can I have one too? I really need one of those.
S: We’ll sell tote bags, cds that we’ve designed, that kind of thing. Do you sell anywhere at the moment?
N: You can buy some stuff on artrebels.com.
For sale on Art Rebels.
Lastlly, do you ever argue?
S: Yes… sometimes
N: But it’s never very dramatic, not exactly arguments, just that sometimes we just get tired of each other.
S: It’s never physical though!
They both laugh, in that easy way of theirs.
Nan Na and Sofie.
So there you have it, an introduction to the wonderful world of Hvass&Hannibal. Two immensely talented girls who’ve found the perfect foil in each other. Get along to the exhibition if you’re in Shoreditch, buy one of the limited edition prints here or just make sure you visit their lovely website to keep updated on their many projects. As well as being super pretty it is also informative and easy to use – just how every website should be. It’s no wonder Sofie and Nan Na are on a roll.
Written by Amelia Gregory on Thursday January 21st, 2010 4:11 pm
