Watching their electric performance at The Garage, information pills I immediately understood why all the major music publications are getting their knickers in a twist over The Pains of Being Pure At Heart. With the recent release of their debut album, more about The Pains have quickly amassed a devoted fan base and garnered raptuous reviews for their perfectly pitched shoe gazing dream pop. If I hadn’t met them, I might have assumed that they were the sort of band who believed their own hype – and why wouldn’t they? Having sat down with Kip and Peggy earlier in the day I instantly realised that while they weren’t oblivious to the attention, they were unfettered by it. Letting the press get on with their excitable reactions, the band just want to play the music that they love.
The new album has practically been lauded as the second coming by heavy weights like The NY Times and NME, did you expect such an immediate and positive reaction?
Peggy – Definitely not, I just think about the bands that play music like us that we have always admired, and most of them were were not that comercially well known, and not always that critically received either, so playing the kind of music we play… we didn’t have our hopes up high. But we were really happy with the record though, we really enjoyed making it, but we had no sense that anything beyond us being happy would happen. I always liked bands that I discovered on my own, I wouldn’t hear them on commercial radio or MTV.
Kip- There are a couple of bands that reached a bigger audience like Sonic Youth or Nirvana, but most of the indie pop bands of the 90′s were limited to a narrow community.
So you were expecting that the album would spread by word of mouth, and instead you were plunged straight into a media frenzy. Were you ready for this?
Peggy- It wasn’t the goal of the band. You know, “everyone is going to love us!” We were just friends that started playing music and this is the kind of music that we like and have bonded over. I think if we had set out to get commercial success we wouldn’t sound the way that we do.
Kip- Where we come from, our backrounds in music, there is not really a strong tradition of bands expecting good things to happen. Perhaps American bands are more self depricating (laugh) but there is this built in expectation that if you do something that you love, it might not be well received by others, but you’ll be happy because you will be proud of it.
Peggy – And you’re happy with the five people that appreciated it! (laughs) I feel like I was that person that would always appreciate a certain band and I would have been totally satisfied with that kind of response for us.
Kip- Growing up, most of the bands that I liked, I didn’t know anyone else who liked them.
Did that give it a special resonance – liking a band, and knowing that no-one else knows them?
Peggy – I wouldn’t admit that…… but I secretly enjoy it!
Kip – I would have liked to have known other people who were into the same bands as me growing up. I felt quite isolated that way; I would sit at home playing computer solitaire, listening to an album over and over again, but it’s cool now that we are travelling more and meeting people who had similar backrounds.
What is the Pains’ backround?
Peggy – I’ve been in bands since I was 13, but none of them that ever went on tour. This is the first band where I’ve got to travel.
Kip – I was in a similar situation, but none of them had graduated above playing in a basement. So this is very different from anything I’ve ever been in – one band that I was in, our goal was to play at this house we knew that had really cool house parties! (laughs)
Can you account for the reasons why the Pains have become so successful?
Kip – We started small, we were playing together for a while before anything happened, it’s easy to lose sight of that because once the album came out things changed a bit, but we were around for a couple of years and met with plenty of challenges, so it doesn’t feel to us like it is an overnight thing, but it may seem that way from an outsiders perspective. I’m grateful for the way that it turned out because it allowed us to mess up for a bit without other people watching! (laughs) We had a relatively decent period of obscurity while we refined what we do….. and also, the reason is luck!
Peggy – And being in the right place at the right time.
Peggy, Is it true that the band formed in part to play at your birthday party?
Peggy – Yes! I remember it was my birthday and I had only invited like, four people; because I only have four friends! (laughs).
Kip – It was at this big warehouse and it was basically an elaborate plot to try and get Manhattan Love Suicides to play, and so if we threw the party, we could play first and then we could say that we played with them. So we had a month to get ready.
It sounds like it was a natural way in which the band came together….
Kip- It was the best way. If the last seven months have taught us anything; we are always together, and if there were people that didn’t get along, it would be hellish, but we were friends for a long time before we picked up an instrument. This made the whole experience fun and much less stressful then for bands who get formed by putting ads in a paper saying ‘drummer needed’.
Peggy – The fact that we are friends and the fact that we have stayed friends is almost more lucky than anything else.
So there haven’t been any falling outs on tour then?
Peggy (emphatically) No!
Kip – This is our first experience of doing this, we don’t have a glut of expectations, we’re just appreciative of the opportunity and are excited by it all; and when you are excited and enjoying it, it’s hard to get upset about things.
Peggy – Touring can be really hard and gruelling, and I feel like if it were with any other people it would really suck, but it ends up being fun anyway.
What have been some highlights for you in the last few months?
Peggy – Playing Primavera was really amazing, that was the first big festival we ever played, and I didn’t know what to expect. I mean, I don’t like crowds (laughs) so I thought, today might be weird or awkward, but it ended up being really life affirming and it was the biggest adrenalin rush ever.
Kip- ABC news showed up at our practice place to hear us play. The fellow who does the news is on TV saying (in deep, authoratative voice), “And now, a report from Brooklyn” (laughs), and him saying our band name on televsion… I sent that to my grandparents, I think that this was the moment where my family realised that even though they didn’t quite understand what was going on with us, we were doing something worthwhile.
Which country has had the best crowds at your gigs? Apart from Britain obviously!
Kip – Obviously!
Peggy – I thought Germany was really positive, we played three shows in Germany and they were really enthusiastic.
Kip – Sweden was pretty amazing, that country has a strong tradition of appreciating bands like ours and even though Swedes are normally really reserved, the enthusiasm we saw there predated even us having a record out – we had released our EP and if we had played in New York, maybe 40 people would have come, and we would know 37 of them, and then we went to Sweden and all of a sudden we were playing really big shows and I had no idea that a band like ours could find an audience like that. But most of the places that we have travelled to have been positive experiences.
You’ve got some more touring to do, and then what do you have planned?
Kip- We have an EP coming out this fall, we recorded four songs before we went to Europe in May, and after the tour we are going back to practicing and working on the new record. But every step of the process is exciting and I try not to think too far into the future, because then you miss out on what is happening in the present.
After this I get Kip and Peggy to take part in my game of Lucky Dip, which involves picking questions out of the bag (my handbag, actually) Peggy picks the “What is the first record that you ever brought?” and proudly tells me that it was Madonna’s “Like A Prayer”, and then with less confidence, quietly adds that a purchase of Tiffany’s “I Think We’re Alone Now” was also made. “I was really into female performers at the time!” she cried. Kip gets the “What is on your rider?” question, and true to form, the down to earth bands requests are not unicorns, dwarfs and mounds of Class A’s, but bread, hummus, water and beer. ” We just need to make sure that we get fed around 5pm or we get a bit grumpy” Kip ventures, although I don’t think any explanation is needed when the sum contents of your rider can be placed in a Tesco’s 5 items or less basket.
“The Pains of Being Pure At Heart” is out now. Monday 10th August
UN Climate Change Talks
The U.N. Climate Change Talks in Bonn, recipe Germany begin a series of informal intersessional consultations today. These are part of the run-up to Copenhagen in December, search and this particular series can be found webcast live here
The Yes Men film shows the hoaxes perpetrated by two US political pranksters. The promotion team describe the film as “so stupidly entertaining” that it will reach and motivate thousands of people, this thus “adding even more juice into a movement that is trying to save civilization itself, among other modest goals.
Tuesday is the satellite event – live from Sheffield, it’s a simulcast event screening of THE YES MEN FIX THE WORLD and live q&a with the Yes Men beamed via satellites from Sheffield Showroom. Cinema-goers will have the opportunity to put their questions live and direct to the film’s stars from their respective cinema locations.
20.30, at the following London cinemas:
Odeon Panton Street, Clapham Picture House, The Gate Notting Hill, Greenwich Cinema, Ritzy Brixton, Screen-on-the-Green
More cinemas on the screenings page of their website.
Wednesday 12th August
Green Spaces & Sticky Feet
A creative exploration of the nature beneath our feet as we roam around the gardens – to help us understand why green spaces are important and how we can make our buildings greener. This is a workshop for children of all ages, who must be accompanied at all times by an adult.
On Friday the 7th August the bailiffs went in and the occupation of the Vestas wind turbine plant on the Isle of Wight ended.
In response to this a National Day of Action in support of the Vestas workers and to keep the factory open, for Green Jobs and a Green Energy Revolution, was declared. There will be actions all around the country organised by a diverse range of groups.
Or contact your local CCC group, or Union – or if you want to organise something in your area there is some advice from Jonathan Neale, of the CCC Trade Union group
The campaign to Save Vestas has not finished, it has just started and with it comes a campaign for a step change in the creation of Green Jobs and the Green Energy Revolution !
6.30pm
Outside the Department of Energy and Climate Change (DECC)
A spiritual celebration and experience, honouring our regal beauty with sacred song and dance. Dances of universal peace, Taize singing, Bhajans & Kirtan, native American sweat lodge, Zikr & Sufi practice, Breton dancing, Tibetan sound meditation, yoga, tribal dance, ancient ways of the British Isles, chant wave and more…
Let the London Wildlife Trust take you out trapping, identifying and recording moths on the Totteridge Fields Nature Reserve. Come and see how many species of moths visit the fields at night. Please wear warm clothes and sensible footwear. Bring a Torch, Notebook and pen. You may also want to bring a flask.
Free car parking in sports ground car park adjacent to the Hendon Wood Lane entrance.
Nearest tube is Totteridge & Whetstone
251 bus stops on Totteridge Common near the junction with Hendon Wood Lane.
8.30-10.30pm
Hendon wood Lane entrance to totteridge Fields Nature Reserve
Contact – Clive Cohen – 07973 825 165 – notinbooks.conservation@btinternet.com
The National are one of my favourite all time bands. Their music full of deep seductive murmuring and soaring strings, The National build a beautiful soundscape full of urban discontent and lost loves.
I wouldn’t blame you for thinking that Devotchka have wandered straight out an Eastern European shtetl with their romani/ klezmer-tastic music. In fact they’re from Colorado and you probably recognise their orchestral treats from Everything is Illuminated and Little Miss Sunshine.
Wednesday 12th August
Woodpigeon at Borderline, London
Woodpigeon is whispery folk with beautiful strings and brass. Perfect for a summer evening.
Thursday 13th August
Circulus at The Lexington, London
Tired of the ins and outs of modern life? Do you want to return to a simpler time? A medieval time? Go see Circulus then! They’re quite obviously as mad as a bag of prog listening cats but they sing about fairies and have lutes- what couldn’t be awesome about that?
Friday 14th August
Forest Fire and Broadcast 2000 at The Luminaire, London
Lovely country folk from Brooklyn’s Forest Fire and tinkly electronica from Broadcast 2000 are set to make this night special!
Saturday 15th August
Spaghetti Anywhere and Colours at Barfly, London
Here at Amelia’s HQ we often find ourselves listening to Spaghetti Anywhere‘s myspace selection of pretty indie pop, and it never fails to brighten up a dreary office day.
Also playing are Colours the South Coast’s answer to My Bloody Valentine, offering up a delicious slice of Shoegaze with Pavement-y undertones. Brilliant stuff all round!
William Cobbing: Thoughts From the Bottom of a Well
Until 6th September
Monday to Friday 9am – 7pm
Saturday 9am – 5pm
Sunday 10am – 4pm
Free
Controversial siblings Jake and Dinos Chapman strike again, with this Hayward Gallery exhibition on tour around the country, based on children’s dot-to-dot drawings but a whole lot more dark, chaotic and macabre.
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The 2009 Vice Magazine Photography Exhibition
The Printspace
74 Kingsland Road
Shoreditch
London E2 8DL
13th August – 26th August
Monday – Friday 9am – 7pm
Artists include: Richard Kern, Maggie Lee, Peter Sutherland, Dana Goldstein, Tim Barber, Martynka Wawrzyniak, Angela Boatwright, Jamie Taete, Alex Sturrock, Jonnie Craig, Ben Rayner.
‘Exhibit X is pleased to announce an exhibition examining the blurred vision between photojournalism and raw photography, using images from Vice magazine and it’s photographers.’
15th August 26th September
Tuesday – Saturday 10am – 5pm
Free
‘Stitching Time is a partnership project with Suffolk Artlink’s Culture Club and Colchester and Ipswich Museums. Older members of the community used a variety of sewing methods to create work in response to the collections.’
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The Kiss of a Lifetime (Part 2)
Vane
Kings House
Forth Banks
Newcastle upon Tyne NE1 3PA
Until 22nd August
Wednesday – Saturday 12-5pm
Free
‘Our second presentation as part of the Northern Print Biennale, ‘The Kiss of a Lifetime (Part 2)’ is curated by Manchester-based artist and curator, Mike Chavez-Dawson. The exhibition features the work of over 100 artists, both internationally renowned and emerging, from the UK and abroad and examines what ‘the kiss’ signifies within contemporary culture – from the romantic to the lifesaving, from the prosaic to the violent.’
Until11th October
Tuesday – Saturday 10am-5pm
Thursday 10am – 8pm
Sundays/ Bank Holidays 12.30 – 5pm
Free
‘An exhibition featuring the highly distinctive drawings of the Scottish outsider artist Scottie Wilson (1891-1972). Starting his artistic career at the age of 44, his work was admired and collected by the likes of Jean Dubuffet and Pablo Picasso and he is considered to be one of the most celebrated outsider artists of the twentieth century.’
Last week I attended the preview screening of The Yes Men Fix The World at the Odeon Panton in London’s West End. Narrated by Andy and Mike, story the self-styled Yes Men, it followed their highly creative protests against corporations and governments guilty of humanitarian and environmental misdemeanours. It’s a laugh-out-loud romp across the continents that you absolutely must see if you’ve ever dreamed of changing the world, but being an indie film unencumbered by distribution or advertising budgets you only get a couple of days to view it.
You can read more about the exploits of the Yes Men in Cari’s excellent preview blog here and find details of where to see it here.
In the meantime, if you live in London you might be more familiar with the Yes Men from their front page appearance in the Evening Standard yesterday, photographed in a joint stunt with Climate Rush to highlight the hypocrisy of Mandelson’s leadership as he takes over from the prime minister whilst Brown goes on holiday. Not only is Mandelson a non-elected politician (democracy?! is this really what it looks like?!) but he is also completely corrupt: Leila Deen from Plane Stupid threw custard over Mandelson in February in order to draw attention to his part in hob-nobbing with BAA execs and then lobbying for the third runway at Heathrow. He is well known for pushing the demands of big business over concerns about Climate Change.
It was indeed a slightly surreal sight to see the unmistakable inflatable shapes of the Yes Men in their Halliburton SurvivaBalls – patented ways of escaping the worst effects of Climate Change if you’ve got enough cash – blocking the entrance to Mandelson’s residence in Regent’s Park together with two girls dressed daintily as suffragettes. Surrounded by mini windmills in plant pots they held aloft a banner which read Mandy Put The Wind In Vestas’ Sales, a timely message as the rooftop protest continues at the Vestas factory in Cowes.
And yet, the Yes Men were not content with a fiendishly early start to pull off the prank with Climate Rush, and were also determined to pay Richard Branson a visit yesterday atfternoon. Why? you might ask…
In a spoof film released onto YouTube yesterday Branson is seen posing astride The World, the huge fake island development constructed in the shape of, yes you guessed it, the world, in Dubai. He’s wearing an amazingly garish Union Jack suit as he cuddles up to some generic pretty girls in red sashes not unlike those favoured by Climate Rush (the sashes, that is.) As Branson states that “we’re just popping people into space and popping them straight back down again,” SurvivaBalls tumble across the screen.
This week it was announced that an Arab investment company has invested in Branson’s Virgin Galactic venture, which plans to take rich people into space on short jaunts to gawp at the wonder of our little planet. The specialist travel company Kuoni are quoted in The Independent as saying that “there will always be super-explorers with the financial ability… to marvel at the Earth from afar. If this is someone’s interest and desire, you can’t put a price on it.” The cost of these trips to the super-rich? A mere $200,000 for two hours. Already 85,000 have registered an interest, with a proportion paying up front. The cost to the earth? Well, Branson is master of greenwash, and he’d have you believe that this vanity project of his will be as eco-friendly as they come. Now I wonder how anyone can imagine that flying into space can come without a cost to the environment? But it seems that if you fuel your jets with biofuel all will be well.
Ah, biofuels, the biggest lie of them all and the subject of the July Climate Rush, where we blocked the street outside an agri-investment conference in Grovesnor Square in order to draw attention to the devastating effects of the rise in the use of palm oil across the globe.
Not only do the monoculture plantations of this “wonder” oil cause massive tropical deforestation and an attendant rise in CO2 emissions, but they result in a 90% loss in wildlife diversity. Did you know that we have lost 90% of the orangutans in the past 100 years?
In many parts of the world biofuels such as jatropha are grown on “marginal wasteland” which isn’t actually marginal at all – it’s common land that provides a living for the people who live nearby. Food Not Fuel, seen below at the Palm Oil Climate Rush, campaign on issues around the increasing use of land to create biofuel for cars, planes and soon apparently, space rockets. All this instead of using land to encourage biodiversity and feed the planet.
How can a man who backs the creation of large scale monocultures to fly rich people into space purport to have any interest in the environment at all? Branson helped to found The Elders, a group of influential rich people who think they can save the world. “Could a small, dedicated group of independent elders help to resolve global problems and ease human suffering?” asks their website. Brilliant! How about space travel for the rich? That ought to do it.
And so, with this in mind, I met Andy, Mike and an assorted gaggle of helpers outside Green Park tube station, not far from where Richard Branson has set up his Galatic shop on an unassuming terraced street (albeit a posh one of course). We’d just bought the Evening Standard and the Yes Men were fairly incredulous with their front page status until I pointed out that if you team up with Climate Rush on an auspicious date that’s the kind of coverage you can expect to get.
Across the road in Green Park out came the SurvivaBall suits and we watched with amusement as Mike and Andy climbed inside, and cunningly inflated themselves through the use of two fans mounted on helmets, before we all tripped across the road, moving slowly to accommodate a ripped SurvivaBall and a broken fan poking professionally out of the top of Mike’s head. Squeezing up the narrow steps the Yes Men pushed the buzzer to gain entrance to the Galactic offices.
Alas the Yes Men didn’t get in (not unsurprisingly given their attire) and they seemed content to instead plant themselves on the doorstep and chant “Branson’s Stooopid”, which of course sounds much better in an American accent. Alex in the third SurvivaBall looked more like an overripe pumpkin than a bastion of “survival technology” but the beauty of the SurvivaBalls is that they look so utterly ridiculous.
“How dumb is space travel for the rich?” chanted the Yes Men, faces squooshed into awkward angles. “This dumb!” they exclaimed before continuing, “What do we want? Space travel for the rich. When do we want it? Never!”
Despite stating through the intercom that they would stay on the stoop until Branson “stops his ‘green’ hypocrisy and Virgin stops flying planes”, the uncomfortable suits were soon shaken off and the action completed. It may not have garnered the press attention of their early morning stunt, but it was filmed by their entourage, and will surely set the scene for many a further protest. Spaceships and astronauts call to mind the possibility of so many creative actions… The cogs in my mind are already turning. Are yours?
Written by Amelia on Tuesday August 11th, 2009 12:15 pm
On our way out of an informative but visually underwhelming lingerie exhibit in south bank’s Fashion and Textiles Museum, this site all was soon forgiven when a well deserved browse through the museum shop led us to surface designer Jason Cheng’s bouncy bangles. This clever designer elevates the humble rubber band to where it shares the shelf with metalsmithed jewlelry.
Accomplished with tight little knots and a muted monochromatic palette, these bangles begged to be touched, plucked and donned. Jason Cheng’s accessories were apparently inspired by maps, geographical references, board games and sports themes. Although in our imaginations they conjured more organic visions of snipped veins (is that all I got from my biology textbooks?) underwater life (maybe because we know what a snorkel tastes like) and braces (those damn little rubber bands we had to attach, drooling, to our teeth’s hardware).
A surging theme of associations points to the lowly rubber band’s first appearance on our scene in grade school. Manifesting itself as a hand held projectile mechanism capable of launching anything from bent paper clips to entirely-too-sharp pencils, the rubber band ignited the weaponry engineer in legions of boys.
Whilst among the girls it became the emergency hair tie (taking with it most of my ponytail when removed) or the inspiration for the-more-the-better bracelets. Jason Cheng’s innovative application for the meager office supply has caused this accessory collector to make some room in her jewelry box.
Best thing about them, they won’t break when you drop them, pack them or smash them during a particularly vigorous night on the dancefloor. All a girl could ask for from an accessory. That, and you could always take a cue from the boys in class…keep a pocket full of pebbles on your walk home at night. Just in case. Monday 3rd August
Camp for Climate Action – Scotland
Climate Camp hits Scotland this week – there is no time to act but now! Come to the Camp for Climate Action in Scotland 3-10 August
For a week of low-impact living and high-impact direct action, story keep 3-10 August free and join us in Scotland to take direct action against the root causes of climate change and ecological collapse. This summer the struggle against a capitalist system intent on extinguishing life on the planet will hit the Firth of Forth!
Renowned international Permaculture teacher Geoff Lawton outlines the methods of designing and building your own food forest from conception to completion, drug demonstrating the evolution of a food forest from day one through to a living 2,000 year old example still flourishing in the Middle East.
7pm – 8pm – Passing Clouds, Dalston
(440 Kingsland Road, Dalston, London E8 – Corner of Kingsland Road and Richmond Road, behind Uncle Sam’s pub now called the Haggerston)
Wednesday 5th August
Terribly Tall Towers
Learn more about the oldest building in Hackney, St Augustine’s Tower, and be inspired to create your own towering construction! This is a workshop run by The Building Exploratory for children of all ages, who must be accompanied at all times by an adult.
14:30-16:30 – St John-at-Hackney Churchyard Gardens
Contact: The Building Exploratory – 020 7729 2011 – mail@buildingexploratory.org.uk
8pm
outside Dept of Energy and Climate Change, 3 Whitehall Place.
Friday 7th August
I think, I see
Join Sally Booth for a large-scale outdoor drawing project : interact with the built environment on the Southbank. More details here.
Drop-in, 12noon – 5pm
Southbank, outdoors.
Saturday 8th August
Introduction to Permaculture
A lively and dynamic weekend, run by Naturewise, looking at the foundations of permaculture and some of the practical tools it offers. Can be considered a stand alone introduction to ethics, principles and design, or a lead-in to the more in depth full 72 hour Design Course.
Yesterday morning seven climate change activists from Workers Climate Actionglued themselves together across the entrance to the Department of Energy and Climate Change. They were wearing black, remedy green and red to symbolise the diversity of their political opinions, but one thing unites them all and that is their belief that the closure of the Vestas wind turbine blade factory on the Isle of Wight is madness. At a time when our government is publically promoting the need for green jobs how on earth can this be allowed to happen? Sounds like a lot of hot air to us. Millions is used to bail out the banks whilst the future of our renewable energy sector is allowed to falter at the first hurdle of NIMBYism, which is preventing the construction of large scale onshore wind power in the UK. Strung around the necks of the activists were the simple words Take Back the Wind Power.
Last week the Big Green Gathering was cancelled for extremely spurious reasons, as highlighted by good old Monbiot in today’s Guardian. Could it be that there is a political desire to keep green activists from gathering together and raising money, some of which might go towards funding actions? Are we becoming too powerful as a movement? It seems somewhat crazy, given that the BGG is predominantly known as a relaxed family festival with a hippie vibe, but there you go.
I had been looking forward to going for the first time and playing a daily celidh as part of the houseband in the Last Chance Saloon, which was already fully erected on site when the plug was pulled (our friends have lost £6000 in the process). But instead and given the circumstances, why not go on a holidarity to the Vestas “Vestival” down on the Isle of Wight, where workers have been staging a sit in occupation since the 22nd of July.
So we, Green Kite Midnight, packed all our instruments and amps into the back of a large car which suddenly seemed very small, and pootled on down to the dock at Portsmouth. The sun shone as we sailed (expensively – book online first ladies and gents) across the Solent, smiling at the beautiful blue sea in the breeze.
Shortly after we landed our spirits were elevated still further by the sight of the Bicycology crew, travelling in convoy towards the Vestas plant, tucked away at the back of a new and half empty light industrial estate.
In front of the factory a roundabout has been turned into a temporary camp – a place to gather for people from all different political backgrounds, all of whom have come to fight for the future of the workers at Vestas.
Marooned together on the “magic roundabout”, as it has affectionately come to be called, there are members of various trade unions (no Vestas workers were members of a union before the sit-in) as well as activists from slightly differing factions of the Socialist movement and members of Climate Camp and Workers Climate Action (the latter having born out of the former) If you’re already confused imagine how I felt. I’ve never been particularly politically active until my involvement with Climate Camp, and I feel as though a whole strange new world has opened up to me – where the most unlikeliest of friendships are forged over shared causes.
Down at Vestas everyone wants a slice of the pie, but all for slightly different reasons. And in the process something really quite beautiful is happening – all these little groups are rubbing along quite happily together and coming to learn about each other and how we can work together to create a better future, because ultimately there can be no climate action without climate justice at the same time. We may be looking at the situation from different angles, but for the most part we’re interested in similar outcomes.
Mind you, there was a burger van set up in the adjacent carpark (run by a lovely man – he was happy to post Climate Camp posters on the outside!) from which union members would habitually return bearing meaty burgers stuffed into those horrible landfill-bound-on-a-fast-train polystyrene containers whilst we munched on our latest vegan meal.
In a dance of food-offering decorum the burger would be offered to us and politely declined, our yummy vegan soup or salad refused in return by a bloke (invariably) more used to fast food than fresh roundabout ‘plat du jour’.
Spirits were high as we arrived in the late afternoon sunshine and an impromptu conga snaked its way around the roundabout. Food had been successfully delivered by Climate Camp activists earlier in the day – having finally despaired of the manager’s efforts to starve the workers into submission they staged a rush of the factory, organising the operation with precision via mobile phone calls with the workers who were ready and waiting with equipment to haul the booty in as soon as it arrived.
As the evening rally kicked off Bicycology where able to provide a bike-powered soundsystem, much to the bemusement of the attendant locals and workers’ families.
Freshly-cooked Welsh cakes made on the miniature children’s oven set were served and the workers on the balcony cheered.
Evenings on the roundabout are where friendships are cemented – gathered around an oil drum full of palettes in the sodium moonlight. The next day was spent getting together an impressive new Climate Camp banner and taping the prayer flag banners I printed onto the hoardings.
The banners turned out to make good headscarves as stencils were created and bunting sewn as we sat in the blazing sunshine.
Mini pastel bunting to be precise – a good foil for the huge bright RMT flags flying above our heads. Due to a lack of loo facilities (as well as local council recycling, though of course we had put a system in place) we had to make frequent treks down to the B&Q at the end of the industrial estate and en route I found a cherry plum tree laden with fruit as well as abundant fat juicy blackberries. After a successful trip into town to visit the local charity shops (great craft magazines) I returned with a bag full of tasty fruit to be shared around. Locals also baked cakes, brought fresh water and in the case of Sue – a local Catholic lady of a certain age – hot fish and chips for the boys on the balcony. These had to be delivered before they went cold – obviously – so a plan was hatched to get them into the precinct as the rally happened on day two of our visit. Once again a group of activists was coralled, and with Sue at the helm they made a dash for the Vestas factory, as the police (always two of them standing around, with very big metal badges on their helmet, must be a real strain on the neck for the Isle of Wight constabulary!) slowly cottoned on.
A farcical chase and grab ensued with the privately employed security guards inside, but we had decoys in place and the food was successfully delivered as Sue turned around and walked calmly through the maelstorm and back out through the Harris fencing with maximum confidence.
What a lady! We later heard that the management, largely due to our actions, had agreed to feed the workers on demand instead of at sporadic intervals with small amounts of unnutritious food (although this has since to happen as they appear to have reneged on the deal).
After the rally protest band Seize the Day played their newly recorded Vestas song with a bit of backing vocal help from some Vestas WAGS. We all sang along with the chorus which I thought was pretty darn rousing, and they tried to bluetooth it out to the crowd. The plan is to get it out as soon as possible so that it can raise money and awareness for the cause.
I’m not sure they’re impressed though.
Next up it was the turn of my new celidh band Green Kite Midnight to put on a dance. I managed to persuade a mixed bunch of folk, including a local morris dancing lady in full traditional gear, to dance along with us in the middle of the road. We didn’t get many takers – clearly celidhs are not that cool in the Isle of Wight – but we did thoroughly entertain the workers, who cheered us on through the whole affair.
The next day we took most of the day to get off the island – it’s a very hard place to leave when the ferries are all booked up and you haven’t got your wetsuit. But we got to paddle in the sea in the drizzle and I got to eat a fresh crab sandwich. The Big Green it wasn’t, but our holidarity was a whole other affair that I was extremely glad to have taken part in. Today Vestas is in court as the management once more seek an injunction to evict the workers. Who knows what will happen? But one thing is sure, new allegiances have been formed and lessons learnt. Vestas workers will tell their story at this year’s Climate Camp, and the need for a just transition to a green economy has never been more high on the agenda. Interesting times indeed.
…And as I complete this blog news has just come in of an occupation at the second Vestas factory on the Isle of Wight, where Climate Camp activists and members of the trade union have together scaled the roof, vowing to stay there until their demands are met. Long live direct action…
Written by Amelia on Tuesday August 4th, 2009 10:40 am
An eclectic mix of art work by a group of like minded people exploring expressionism through art.
Peckham Square, tadalafilpage 28th of March 2- 6pm
In the Pines
Jack Strange Limoncello 2 Hoxton St London, rx opening 27th of March 6.30 – 8.30pm, case exhibition: 26th – 28th of March 11am – 6pm and by appointment until 2nd May 2009.
Order and Disorder
Wilhelmina Barns-Graham
A look at a very unique collection of paintings and prints, several have never been publicly exhibited before. Art first in Cork street, 24th March – 23rd April
One or Several Wolves
Priya Chohan, Coral Churchill, Annelie Fawke, Kwang-Sung Hong, Heidi Locher and Anne E Wilson.
A group of artists look at conceptual motivations within Art, using a variety of media each artist explores the relationship between concept, material and final work created. Kingsgate Gallery, 20th March – 5th April Free
Bandits present
New installation work from Glaswegian artists littlewhitehead. The Bun House Bandits, 96 Peckham High Street London. Preview: 15th March 2009, 4pm. Exhibition: 16th March 2009 – 29 March 2009, 11am–11pm
Being and nothing-ness
Youngmi Kim, Kiwoun Shin and Seunghyun Woo
Three Korean artists explore the notion of “being” through various multi media methods, the exhibition includes paintings, videos and sculptures. Nolias Gallery, 60 Great Suffolk St SE1. Private view: 26thMarch at 6pm- 9pm, exhibition: 27th March- 7TH April 200 10:30Am-6pm,
We are his body
installation art work inspired by the artist’s exploration of the cross in today’s society.
Viewing at Christ Church URC 663 Barking rd Plaistow E13 9EX, 25th March 6pm
Kate Marshall: Live Painting.
This dextrous figurative painter will be doing a live drawing and painting gig at Movida, Argyll Street on April 2nd. Arrive at 9.30pm, you might get a free drinky. She’ll be starting work at 10pm. Check out the event on facebook.
I just woke up from the best nightmare I ever had, store at least I think it was a nightmare. I mean, side effects I’ve heard of mutton dressed as lamb and a wolf in sheep’s clothing, health but last night I saw a couple of ladies, dressed as a wolf and a sheep respectively, among other things.
But what was this, what had I stepped into? Well I found the best person to ask, Annie Oldfield. A lovely young lady from Leeds, dressed as a wolf! I thought it would be fun to create a one-off themed party where you can listen to music all night that`s in some way related to animals: Animal Collective (Panda Bear), Deerhunter, Modest Mouse (the list is endless), eat crackers and, of course, what themed party is complete without fancy dresses. Shark, tiger, zebra, duck, crab, swan, cat (there were lots of cats) all had turned out.
After Annie along with friend Bonnie Wan came up with the idea they went to
DJ/Promoter friend Dave Bassinder (Underachievers) and Filthy animals! was born.
Not one for getting down on the dance floor, that was no problem here, you could keep yourself occupied by making animal balloons or watching films played on a big screen, obviously starring our fantastic furry friends. Or grab a piece of paper and give origami a go, make some sort of flapping pterodactyl. Of course the term filthy suggests more than balloon modeling so a few cheap drinks and many tunes later and the dance floor got the attention it deserved, well you spend all day making a costume you gotta show it off, right?
It`s a real shame it had to end as there are no plans for further repercussions. If you read this Underachievers “BRING BACK THE ANIMALS and KEEP EM FILTHY”!
I have something to admit, viagra sale I am a warehouse party virgin. By warehouse parties I mean not-really legal parties, treat which announce their locations via facebook messages about five minute before they start and you quickly have to get yourself to some remote north London spot in Zone 4. For me there is nothing fun about the obvious issue of trekking all the way out there just for the police to shut it down at twelve. Or 11.30 PM on New Years Eve, rx which is what happened to one of my friends!
After one of our writers posted about their last exhibition I decided i couldn’t miss the LuckyPDF warehouse party, even better it was all above board and legal. There were rather fancy gold flyers promoting the event and they even hired their own bouncers, who were at the door all night checking ID. While this might take some of the thrill away for regular warehouse party goers I rather enjoyed being somewhere with plumbing and electricity. My favourite part was not having to trail across London to a Saw-esk industrial park, because the event was just off Peckham high street. As the LuckyPDF people boldly proclaimed before the event, “The people of South London shalt need to travel to East London any longer for their Huge Party needs.”
I arrived at eleven and the queue to get in was absolutely insane, luckly i’d sent a RSVP email, but I still had to wait a good fifteen minutes to get into the rooms even once I was through the main gate. This was no thrown together event, they had obviously put a lot of effort into sound and lighting, which was refreshing and very welcome. As I entered the bottom room floor I was immediately hit with throbbing lights and heavy bass. There were hoards of people, I couldn’t even begin to count how many attended the event, but nothing was too serious. I think something about the fact it was in a warehouse just made the whole event more relaxed, there was a lot less people there just to smoke and be seen than there were people just wanting to have fun. No “this is the dance floor, this is the bar” locations usually explicit in gig venues meant people were just doing what they wanted where they wanted.
The LuckyPDF warehouse party aimed to be “a rampant music/art extravaganza that will continue til the early morn..” The music was definitely there with the order of the day being, “Bass, Bass, Garage, Electro, Bass, Drum n Bass, Swing, Tango, Nintendocore and Bass”. There were Dj sets from 10 PM – 4AM from South London party circuit favourites, XXX, My Panda Shall Fly and Tomb Crew, plus many, many more. These Dj’s were well selected and well received (apart from whoever kept cutting tracks short in the top room!) effortlessly mixing cutting edge bass tracks with forgotten classics.
However, I was completely perplexed about the other bit, you know the art. Unless really, really small (microscopic) art has come in fashion since the last exhibition I went to I would swear that there wasn’t any. It could have been hidden by the hoards of people there, but still if you’re going to advertise art it would be helpful if people could see it. Previously this would have annoyed me, but I feel i’m just starting to get the point of collectives such as LuckyPDF and it’s peers. Although these guys are artists, they’re not together to try and promote a certain type of art or medium over any other. With the exception perhaps being Off Modern who have a whole Off Modern manifesto on their website. As far as I know there is no particular theme or common interests in the work of the organisers of these events and if there were it would be purely incidental. It’s more a case of getting people excited about South London. Which something that hasn’t happened since (dare i say it) the YBA’s, and they all rushed off to live in the East End or houses in the country as soon as they could anyway.
I will forgive the LuckyPDF guys just this once having an event light of the art and heavy on the music (which draws people in and allows them to charge entry fee), because they have stated that they’re a not for profit organisation, and I hope the money they made will be going into more exhibitions. And when they do I’ll be there, pen in hand, because I can’t wait to see what they’re going to do next. Photography by Ted Williams
Monday 23th
The Rakes release their third album, symptoms KLANG, buy information pills today and to celebrate the band will play a special gig at London’s Rough Trade East at 6pm tonight.
The follow up to ‘Ten New Messages’ is pure and the best of The Rakes as you can check out on lead track ‘1989‘.
Wristband collection 1 hour prior to gig, first-come-first-served basis-one per person.
The Rakes
Tuesday 24th
It`s crunch time at The Social and the venue welcomes Kid Carpet to promote his new single, followed by Moonfish Rhumba with their electro beats and peculiar lyrics.
If great music is not enough to take your mind of recession, this month the venue provides the Crunch Time Rant where you can take your anger to the stage, step on to a soapbox and speak out your thoughts.
Doors 6pm, 99p.
Moonfish Rhumba
Wednesday 25th
Hoxton Square Bar & Kitchen receives Joseph Mount, aka Metronomy and DJs, including the opulent pop of Your Twenties (whose harmonious frontman is Metronomy’s former bassist).
8pm, £7, adv £6.
The three new yorkers forming The Virgins land in town for some dance rock at Koko London.
9:30pm, £7, £5 before 11pm, concs £4.
The Virgins
Saturday 28th
Up for some healthy girlie pop? Betty and the Werewolves bring their female fronted indie-ditty-pop vocals (they do count with one boy on the drums!) to Bardens Boudoir next Saturday.
8pm, £6.
Betty and the Werewolves
Sunday 29th
Close (or begin?) your week with the Society of New Music – an avant garde event featuring Wet Dog live at The Social.
7pm, £2.
Wet Dog
To all you vintage addicts I bring you salvation!
On April the 4th a vintage bonanza will be hitting the streets of Bethnal Green to bombard you with their scandalously cheap vintage, viagra 40mg so prepare yourself Shoreditch! I understand if you are dubious, case “what makes it unique in comparison to the endless array of oversaturated vintage fairs and markets in London” I hear you say? Well, the differentiation is that at this event you won’t be leaving empty handed if you left the house with a mere twenty pounds. This is vintage on an extremely tight shoestring, for any savvy shopper the affordable vintage fair is akin to the sensation of being a child in a sweet shop again!
Heralded as the largest vintage fair in north England, the organizers have delved the nation with their noble quest for affordable vintage, leaving no stone unturned. Our loyal travellers have unearthed hidden gems and want to bring you the fruits of their labour! So cast aside the idle and banal window shopper, let your hair down and embrace your style hungry primordial urges. The fair is an emporium of vintage wonderment; there are style advisors, a customisation and alternations area, swapping area as well as bundles of vintage clothes and furniture.
But the most exciting element of the fair has to be the pay by kilo vintage stall. This really is vintage paradise; trawl to your heart’s content safe in the knowledge it’s not going to cost you much more then your weekly grocery shop. The phenomena is commonplace with our European counterparts, but kilo shopping will be making its debut here in the UK. So get trawling and scout some hidden gems, this might just be your chance to revive your wardrobe from the brink of darkness and inject a whole new burst of life. What other chances would you get to weigh out your clothes, just like you would weigh out your sugar?
They have catered for your every whim feeding your ears and taste buds with a nostalgic trip down memory lane. With music spanning the decades from the bohemian 60s to the energetic 80s, not forgetting a whole host of cake stalls and beverages to whet your appetite.
So don’t miss out, get down there 11am pronto on the 4th of April, I for one will be installing my vintage bargain radar and heading down myself!
Everyday at the office here, treatment while we`re writing our articles and drinking our teas, we try to go through the many cd`s we receive daily and now and then there`s one that catches everybody`s attention, making everyone in the room ask “who`s this”?
That`s exactly what happened when Cari put on the single from up and coming group My Tiger My Timing. In less than 30 seconds heads were bopping and legs were shaking unanimously. This Is Not The Fire is so catchy that I`ve been listening to it non stop since Tuesday.
They play a delightful, totally danceable afro beat, electro-pop and still they compare themselves with bands like Metronomy and Casio Kids. While most of the groups desperately run away from extreme pop and commercial tracks, MTMT does exactly the opposite, recognizing their will for creating easy listening and fluid beats.
The foursome was formed in 2008 in south east London and their debut single was produced by Andy Spence of New Young Pony Club and will be released April 6th 2009 downloadable through Silver Music Machine.
Tuesday I had the chance to see them live at Cargo and I`m definitely looking forward to the entire album, it was quite an electrifying performance. Here`s a little video of the last song:
Yesterday, buy a few of the Amelia’s Magazine girls went along to witness the G20 protests in the City of London. The day had dawned to brilliant sunshine, and clear blue skies, which meant that the sight and sound of the police helicopters hovering overhead was even more pronounced. The events which were due to unfold promised to be extraordinary, and I was keen to see what was going to happen. It was hard to know what to expect, but here was the run down. Four different carnival parades, were to converge around the Bank Of England, and protest the current economic and environmental climate. We were guided there by the Four Horsemen of the Apocalypse, leading the processions from four rail stations. We were setting off from Liverpool Street, led by the Green Horse – representing climate chaos. Walking from Brick Lane to the station, I was struck at how different the city seemed. Spitalfields Market, and all the restaurants around it were closed. There were not many city workers around, but those who were out and about were dressed down. I didn’t see a single suit around me.
The Barbican towards The Bank of England. It was enjoyable to be part of such a good natured crowd and it was fun to watch all the shop owners standing outside their establishments, watching with fascination at the colourful carnival proceeding past them.
As we walked towards Bank we passed Northern Rock. Some clever jokers had hung a sign inside their office entitled ‘We Love Money”. As I went to take a picture they hastily pulled the sign down. I could only marvel at the thoughtlessness of that statement, wasn’t it hundreds of thousands of pensioners money that they had lost – was that the money in question that they loved so much? After a brief stop, we marched into the space around The Bank Of England. I was shocked by the amount of people who were here. Estimates at 4,000 are not an exaggeration. The place was packed. Having only ever seen this section in London as a thoroughfare for busy, frantic city workers, and crammed to the gills with buses, it was surreal to see it filled with so many protesters. No cars, just people.
After about 45 minutes, we were ready to head back to the office. I went to walk past a row of police and quickly found that I couldn’t get through. Not quite understanding the situation I was unconcerned, thinking that they were guarding just one exit. Knowing there were plenty more exits around Bank station we wandered back to the road that we had come in on. Again, we were met with a throng of police. They stood arms locked. Still assuming that this was something that would be resolved soon, we sat down and scrounged some crisps off a girl sat next to us. (Not expecting to be there for long, we didn’t take any food, and not much water.)
Then some of the police vans next to us started to move through the police and drive away. We thought that this was our cue to leave as well, and strode towards the police. They immediately closed ranks. It was at this moment that I took in the situation. They had cordoned us all in; we had unwittingly become kettled. (This word now chills me to the bone). No one was going anywhere without their say so. the crowds started to fill up and began asking questions. As I was nearest the front I asked how long this situation would last for. “Don’t know” came the response. Many people started asking why this was happening, but the police would not respond. Our crowd was large, and there was not an ‘anarchist’ in sight. Many tried to squeeze towards the police and told them that this was violating their human rights, and was against the law. Again, no response.
We were soon packed so tightly that it was like being at the front of a gig, but instead of watching a band, we were staring into the hard faces of men who refused to talk to us, and would sooner beat and arrest us then let us get past them. At this point the crowd surged and we fell into each other. The police shouted at us “Get back!” a woman shouted “Where to?!” We were trapped in a scrum, and the police were pushing us back while we were being pushed forward. I saw riot police walk towards us and I felt a surge of panic. We had been trapped by the police and there was nothing that we could do. I pleaded with the officer in front of me to let us go (I can now see how futile that was). I said that we were scared, and asked if a riot were to kick off, who are they going to protect? “I can’t answer that” was the response. Women started shouting that they had children from school to pick up, jobs to get to. The most common cry to the police was “Why won’t you speak to us?” I got so fed up from this feeling of powerlessness that I phoned the news desk at BBC News. I shared my feelings of worry to the reporter on the other end of the phone; and told her the scenario. I relayed what the officers had told one girl to do who said that she needed the toilet – “you can go in the street”; what they told one boy who said that he wasn’t even part of the protest – “You are now”. The BBC reporter told us that this situation was happening at every exit of the march. She said, “You are all being tarred with the same anarchist brush, this is their tactic”.
Around an hour later, still in the same position, a man passed out in front of me. He had been standing quietly, not trying to defy the police, and his only movement for the two hours that we were held was to quietly read a peace of paper that he had in his hands. I had looked at it at one point and could see that it was a Psalm. Thankfully, the officers took him away and led him to an ambulance. Just as I started to feel that it was going to be an all night cordon, my friends phone rang. A friend of hers told her that they had just opened one of the exits round the corner and we bolted for it. Walking to the tube, we were jumping up and down with exhilaration. We began receiving updates that the RBS building was being stormed, and that the police were beating protesters. What had started off as a peaceful and well meaning protest was quickly turning into something much darker, but who was at fault? If you asked anyone in the 4,000 strong crowd they would have no trouble telling you. The police’s tactic of kettling us, purposely providing us with no information and locking us in for two and half hours was easily going to generate the mayhem that they had predicted. Nonetheless, I am so pleased that I attended. It was always going to be an interesting day, I just wish that the peaceful protesters would have been treated better and not denied their basic human rights.
Written by Cari Steel on Thursday April 2nd, 2009 5:43 pm
Krystof Strozyna has been on my radar for what seems like forever in fashion… which in practice means a couple of years – ever since we wrote about him in the print version of Amelia’s Magazine, genericvisit this shortly after his graduation from Central Saint Martins in 2007. Which makes it all the more annoying that we don’t receive proper tickets to his shows. I hate e-invites, information pills I really do. I always forget to print them out which usually means I forget to attend the show (I need tickets IN MY HANDS during LFW – there’s just too much to juggle otherwise) and they’re invariably no good for anything better than standing. Basically, viagra they just don’t cut it.
Luckily my face is so well known around Fashion Scout that I can usually slide into any show with no problem. So it was that I got cajoled in to see Krystof Strozyna‘s A/W collection – well, it didn’t take much to be honest. Apparently Kimberly Walsh was there too, flying the flag for Girls Aloud during a rare break for Nicola Roberts. I can imagine her curves would suit his sexy 80s inspired draped tailoring a little better anyhow.
For the most part this collection did not disappoint, featuring tailored black and flesh tones combined with undulating shades of ruched blue chiffon. A little more awkward was a one legged dress – maybe a good idea in practice but somewhat inelegant on the catwalk.
The winning numbers were undoubtedly Krystof Strozyna‘s gorgeous neon fractal prints, which brought a splash of welcome colour to the ubiquitous Little Black Dress… and a devastating punch delivered by the liberal use of acidic orange. Red may have been the favoured highlight of many an A/W collection but on the strength of this I’m voting for vibrant orange. Yum yum.
Krystof Strozyna A/W 2011. All photography by Amelia Gregory.
Grow Heathrow by Rebecca Peacock.
Just over a year ago a group of my friends envisioned a radical new version of the Transition Town model. Activists drawn from groups such as Plane Stupid and Climate Camp decided to squat a rundown old market garden in the village of Sipson that was being used as a dumping ground for car scrap in an area planned for demolition to make way for the third runway at Heathrow. And thus Grow Heathrow was born, link a great big YES in the face of so many NOs.
Over the course of the past year they have utterly transformed the area; growing their own food, stomach hosting bike workshops and ensuring a sustainable community has sprung up that fully involves the locals. What was once an eyesore covered in shattered glass has become an inspiring success story, described by one local as “better than prozac”. In this beautiful short video from You and I Films the misty eyed community get together to reminisce about the past year, describing how what they did was “naughty but extremely worthwhile” and a necessary action to enable the creation of their “own piece of paradise.” As is so often the case, gardening has proved the glue that has brought people together.
Later in March Grow Heathrow will host the Reclaim the Fields European gathering, and then a group of people associated with the project will go on an ambitious 100 day cycle ride to Palestine. P.E.D.A.L. will meet with permaculture projects along the way; sharing ideas and stories for a better world.
Inspiring stuff indeed, but I’ll let this lovely video – made to celebrate Grow Heathrow‘s first birthday – do the talking.
You can read more about Grow Heathrow in this blog, written just after it was set up in early 2010.
Written by Amelia Gregory on Tuesday March 1st, 2011 5:47 pm
On Sunday we lost a few and gained a few. Pete Lawrie called by with terrible hayfever to say he couldn’t sing for fear of losing his voice but kindly volunteered to perform at another Climate Camp benefit. Of course I made him stand in front of our banners so I could get a photo anyway.
Pete Lawrie.
Robinson just didn’t turn up. I missed a phone call whilst doing an impromptu Green Kite Midnight gig at the Greenpeace Stage, nurse which laughably requested that I get on the radios to sort out a vehicle escort to meet them from their Acoustic Stage gig (erm, buy information pills did you read any of my emails?) They then ignored all my later frantic calls. Professional. Still, they probably wouldn’t have had much of an audience, what with them clashing with that embarrassing worldcup football match and all. I missed most of Pete the Temp but managed to catch him performing some fun mashed up covers dressed in a tutu from our grand raffle.
Lulu and the Lampshades decided to play at the last minute once their Glastonbury tickets were confirmed. Fronted by my former art editor, the super talented Luisa Gerstein, I am ashamed to say that this was the first time I had seen them perform live. I had previously only visited them on myspace, which really doesn’t do justice to their ace live performance. Playing on a variety of strange string instruments, an old typewriter and an assortment of pots, pans and donating buckets scoured from the Climate Camp kitchen, they were incredibly inventive.
Both myself and Luisa have camped extensively with Forest School Camps, and her glorious melodies reflect the mix of traditional English, Irish, Scottish and American Bluegrass music that we love to sing around campfires.
Lulu and the Lampshades ended on an acapella version of traditional gospel song You’re Gonna Miss Me When I’m Gone – here performed with just two of the band members and some old yoghurt pots (another trick I suspect she learnt around the campfire). A cult classic if ever I saw one – there are already multiple tributes on youtube.
Luisa’s best bit about playing the Tripod Stage: our make-shift drum-kit from the catering tent. Luisa’s best bit about Glastonbury this year: Sunday evening: Mountain Man in the Crow’s Nest followed by Dirty Projectors followed by Stevie Wonder; twas dreamy.
You can catch Lulu and the Lampshades at Bestival later this year.
Cats and Cats and Cats then borrowed a number of instruments from Lulu and the Lampshades to play another exclusive for the Tripod Stage, lead singer Ben George having come down from his parent’s pottery stand in the Green Fields to offer us the gig. Quite fortuitously Cats and Cats and Cats have their debut album If I’d Had An Atlas out this week, so we were treated to stripped down versions of a range of songs which I’ve since been able to listen to on record.
When and where was the album recorded?
If I’d Had An Atlas was recorded over 11 days in deepest darkest Wales (Giant Wafer Studios in the Brecon Beacons), it was great to be so far away from any bustling cities and we could really concentrate there. We also did some recordings of extra instruments (tuba, cello, accordion etc.) in Folkestone at Barewires Studios.
What inspired the name If I’d Had An Atlas?
The name is from a lyric in the title track which reads “I don’t know, if I’d had an atlas, where we would be,” which fell out of my brain at some point and I scribbled it down. I like the imagery of someone imagining that if they’d had a map they would have done things differently but of course there is no map and life is chaotic and that’s why it’s amazing.
What was the best bit about playing on the Tripod Stage?
I really enjoyed just turning up and using what instruments we could gather to piece together a set and then managing to pull it off! Thanks loads to Lulu and the Lampshades for lending us their equipment and also for being really brilliant. The only bad point was when I dedicated a song to my brother only to find he’d run off to watch Nora Jones!
What was your favourite part of Glastonbury this year?
I saw some of my favourite Glastonbury performances this year by bands like: Boxcar Aldous Huxley, Tubelord, The Dirty Projectors, Meursault and Imogen Heap; I was also gobsmacked at the lightning men and amounts of fire in Arcadia. But I have to say the weather, I was there for 8 days and I didn’t see a drop of rain. Amazing.
What other festivals are you playing at?
We’ve got a couple more lined up in July: Lounge on the Farm in Canterbury on Friday 9th (at 12pm) and 2000 Trees Festival in Cheltenham on Saturday 17th. Then we’ll be playing a farewell show for our violin player in London at some point as she’s leaving the band, but we’ll be back on the scene in October for a UK tour. Hopefully see you soon.
Ben has one of those voices that delights in the slightly out of the tune: it shouldn’t work, and sometimes it grates, but most of the time it somehow does: his wailing vocals become a feature in themselves, especially when offset against such a lush backdrop: brass, strings, entire orchestras, choirs, all of which have their place on this album – occasionally screeching to a standstill that echoes the offkilter vocals. It’s all great fun. Stand out single A Boy Called Haunts is a triumphant melody about
An acquired taste maybe, but wonderfully original and definitely a grower. Well worth checking out.
Our final performer was another late booking – Attila the Stockbroker, pint in hand, gave us some grand punk beat poetry. 60 years old and able to give any number of youngsters a run for their money. I’d like to see more of him one day.
And so ended my Tripod Stage musical line-up. And what a joy it was. Here’s hoping we can do as well next year…
On Sunday we lost a few and gained a few. Pete Lawrie called by with terrible hayfever to say he couldn’t sing for fear of losing his voice but kindly volunteered to perform at another Climate Camp benefit. Of course I made him stand in front of our banners so I could get a photo anyway.
Pete Lawrie.
Robinson just didn’t turn up. I missed a phone call whilst doing an impromptu Green Kite Midnight gig at the Greenpeace Stage, patient which laughably requested that I get on the radios to sort out a vehicle escort to meet them from their Acoustic Stage gig (erm, stomach did you read any of my emails?) They then ignored all my later frantic calls. Professional. Still, pharmacy they probably wouldn’t have had much of an audience, what with them clashing with that embarrassing worldcup football match and all.
I missed most of Pete the Temp but managed to catch him performing some fun mashed up covers dressed in a tutu from our grand raffle.
Lulu and the Lampshades decided to play at the last minute once their Glastonbury tickets were confirmed. Fronted by my former art editor, the super talented Luisa Gerstein, I am ashamed to say that this was the first time I had seen them perform live. I had previously only visited them on myspace, which really doesn’t do justice to their ace live performance. Playing on a variety of strange string instruments, an old typewriter and an assortment of pots, pans and donating buckets scoured from the Climate Camp kitchen, they were incredibly inventive.
Both myself and Luisa have camped extensively with Forest School Camps, and her glorious melodies reflect the mix of traditional English, Irish, Scottish and American Bluegrass music that we love to sing around campfires.
Lulu and the Lampshades ended on an acapella version of traditional gospel song You’re Gonna Miss Me When I’m Gone – here performed with just two of the band members and some old yoghurt pots (another trick I suspect she learnt around the campfire). A cult classic if ever I saw one – there are already multiple tributes on youtube.
Luisa’s best bit about playing the Tripod Stage: our make-shift drum-kit from the catering tent. Luisa’s best bit about Glastonbury this year: Sunday evening: Mountain Man in the Crow’s Nest followed by Dirty Projectors followed by Stevie Wonder; twas dreamy.
You can catch Lulu and the Lampshades at Bestival later this year.
Cats and Cats and Cats then borrowed a number of instruments from Lulu and the Lampshades to play another exclusive for the Tripod Stage, lead singer Ben George having come down from his parent’s pottery stand in the Green Fields to offer us the gig. Quite fortuitously Cats and Cats and Cats have their debut album If I’d Had An Atlas out this week, so we were treated to stripped down versions of a range of songs which I’ve since been able to listen to on record.
When and where was the album recorded?
If I’d Had An Atlas was recorded over 11 days in deepest darkest Wales (Giant Wafer Studios in the Brecon Beacons), it was great to be so far away from any bustling cities and we could really concentrate there. We also did some recordings of extra instruments (tuba, cello, accordion etc.) in Folkestone at Barewires Studios.
What inspired the name If I’d Had An Atlas?
The name is from a lyric in the title track which reads “I don’t know, if I’d had an atlas, where we would be,” which fell out of my brain at some point and I scribbled it down. I like the imagery of someone imagining that if they’d had a map they would have done things differently but of course there is no map and life is chaotic and that’s why it’s amazing.
What was the best bit about playing on the Tripod Stage?
I really enjoyed just turning up and using what instruments we could gather to piece together a set and then managing to pull it off! Thanks loads to Lulu and the Lampshades for lending us their equipment and also for being really brilliant. The only bad point was when I dedicated a song to my brother only to find he’d run off to watch Nora Jones!
What was your favourite part of Glastonbury this year?
I saw some of my favourite Glastonbury performances this year by bands like: Boxcar Aldous Huxley, Tubelord, the Dirty Projectors, Meursault and Imogen Heap; I was also gobsmacked at the lightning men and amounts of fire in Arcadia. But I have to say the weather, I was there for 8 days and I didn’t see a drop of rain. Amazing.
What other festivals are you playing at?
We’ve got a couple more lined up in July: Lounge on the Farm in Canterbury on Friday 9th (at 12pm) and 2000 Trees Festival in Cheltenham on Saturday 17th. Then we’ll be playing a farewell show for our violin player in London at some point as she’s leaving the band, but we’ll be back on the scene in October for a UK tour. Hopefully see you soon.
Ben has one of those voices that delights in the slightly out of the tune: it shouldn’t work, and sometimes it grates, but most of the time it somehow does: his wailing vocals become a feature in themselves, especially when offset against such a lush backdrop: brass, strings, entire orchestras, choirs, all of which have their place on this album – occasionally screeching to a standstill that echoes the offkilter vocals. It’s all great fun. Stand out single A Boy Called Haunts is a triumphant melody about
An acquired taste maybe, but wonderfully original and definitely a grower. Well worth checking out.
Our final performer was another late booking – Attila the Stockbroker, pint in hand, gave us some grand punk beat poetry. 60 years old and able to give any number of youngsters a run for their money. I’d like to see more of him one day.
And so ended my Tripod Stage musical line-up. And what a joy it was. Here’s hoping we can do as well next year…
On Sunday we lost a few and gained a few. Pete Lawrie called by with terrible hayfever to say he couldn’t sing for fear of losing his voice but kindly volunteered to perform at another Climate Camp benefit. Of course I made him stand in front of our banners so I could get a photo anyway.
Pete Lawrie.
Robinson just didn’t turn up. I missed a phone call whilst doing an impromptu Green Kite Midnight gig at the Greenpeace Stage, price which laughably requested that I get on the radios to sort out a vehicle escort to meet them from their Acoustic Stage gig (erm, did you read any of my emails?) They then ignored all my later frantic calls. Professional. Still, they probably wouldn’t have had much of an audience, what with them clashing with that embarrassing worldcup football match and all.
I missed most of Pete the Temp but managed to catch him performing some fun mashed up covers dressed in a tutu from our grand raffle.
Lulu and the Lampshades decided to play at the last minute once their Glastonbury tickets were confirmed. Fronted by my former art editor, the super talented Luisa Gerstein, I am ashamed to say that this was the first time I had seen them perform live. I had previously only visited them on myspace, which really doesn’t do justice to their ace live performance. Playing on a variety of strange string instruments, an old typewriter and an assortment of pots, pans and donating buckets scoured from the Climate Camp kitchen, they were incredibly inventive.
Both myself and Luisa have camped extensively with Forest School Camps, and her glorious melodies reflect the mix of traditional English, Irish, Scottish and American Bluegrass music that we love to sing around campfires.
Lulu and the Lampshades ended on an acapella version of traditional gospel song You’re Gonna Miss Me When I’m Gone – here performed with just two of the band members and some old yoghurt pots (another trick I suspect she learnt around the campfire). A cult classic if ever I saw one – there are already multiple tributes on youtube.
Luisa’s best bit about playing the Tripod Stage: our make-shift drum-kit from the catering tent. Luisa’s best bit about Glastonbury this year: Sunday evening: Mountain Man in the Crow’s Nest followed by Dirty Projectors followed by Stevie Wonder; twas dreamy.
You can catch Lulu and the Lampshades at Bestival later this year.
Cats and Cats and Cats then borrowed a number of instruments from Lulu and the Lampshades to play another exclusive for the Tripod Stage, lead singer Ben George having come down from his parent’s pottery stand in the Green Fields to offer us the gig. Quite fortuitously Cats and Cats and Cats have their debut album If I’d Had An Atlas out this week, so we were treated to stripped down versions of a range of songs which I’ve since been able to listen to on record.
When and where was the album recorded?
If I’d Had An Atlas was recorded over 11 days in deepest darkest Wales (Giant Wafer Studios in the Brecon Beacons), it was great to be so far away from any bustling cities and we could really concentrate there. We also did some recordings of extra instruments (tuba, cello, accordion etc.) in Folkestone at Barewires Studios.
What inspired the name If I’d Had An Atlas?
The name is from a lyric in the title track which reads “I don’t know, if I’d had an atlas, where we would be,” which fell out of my brain at some point and I scribbled it down. I like the imagery of someone imagining that if they’d had a map they would have done things differently but of course there is no map and life is chaotic and that’s why it’s amazing.
What was the best bit about playing on the Tripod Stage?
I really enjoyed just turning up and using what instruments we could gather to piece together a set and then managing to pull it off! Thanks loads to Lulu and the Lampshades for lending us their equipment and also for being really brilliant. The only bad point was when I dedicated a song to my brother only to find he’d run off to watch Nora Jones!
What was your favourite part of Glastonbury this year?
I saw some of my favourite Glastonbury performances this year by bands like: Boxcar Aldous Huxley, Tubelord, the Dirty Projectors, Meursault and Imogen Heap; I was also gobsmacked at the lightning men and amounts of fire in Arcadia. But I have to say the weather, I was there for 8 days and I didn’t see a drop of rain. Amazing.
What other festivals are you playing at?
We’ve got a couple more lined up in July: Lounge on the Farm in Canterbury on Friday 9th (at 12pm) and 2000 Trees Festival in Cheltenham on Saturday 17th. Then we’ll be playing a farewell show for our violin player in London at some point as she’s leaving the band, but we’ll be back on the scene in October for a UK tour. Hopefully see you soon.
Ben has one of those voices that delights in the slightly out of the tune: it shouldn’t work, and sometimes it grates, but most of the time it somehow does: his wailing vocals become a feature in themselves, especially when offset against such a lush backdrop: brass, strings, entire orchestras, choirs, all of which have their place on this album – occasionally screeching to a standstill that echoes the offkilter vocals. It’s all great fun. Stand out single A Boy Called Haunts is a triumphant melody about… a boy who is trying to impress a girl, so he dresses up as a ghost on Halloween. Only trouble is that he then becomes a real ghost and discovers that she spends her free time having sex with men in porn films. As you do. Ben has been learning Japanese for 3 years so he decided to write a song in Japanese “half to see if I could and half to show off”. Towards the end of the album curveball Suizokukanni works surprisingly well, even if the subject matter is equally bonkers. In it Ben’s fictional brother talks to the fish in the garden pond so he gets shunned. One day Ben hears the fish in the garden calling his name and realises he can talk to them. The last line roughly translates to “Lets go to the aquarium together and never return!”. This is followed by the beautiful The Smallest Song, a much quieter and more subdued affair, even as the brass section kicks in. The next single will be If I’d Had Antlers, which features sawed and plucked violin melded to off kilter beats and a surprisingly delicate melody. Watch out for the animated video. Cats and Cats and Cats might be an acquired taste, but they’re wonderfully original and definitely a grower. Well worth checking out.
Our final performer was another late booking – Attila the Stockbroker, pint in hand, gave us some grand punk beat poetry. 60 years old and able to give any number of youngsters a run for their money. I’d like to see more of him one day.
And so ended my Tripod Stage musical line-up. And what a joy it was. Here’s hoping we can do as well next year…
On Sunday we lost a few and gained a few. Pete Lawrie called by with terrible hayfever to say he couldn’t sing for fear of losing his voice but kindly volunteered to perform at another Climate Camp benefit. Of course I made him stand in front of our banners so I could get a photo anyway.
Pete Lawrie.
Robinson just didn’t turn up. I missed a phone call whilst doing an impromptu Green Kite Midnight gig at the Greenpeace Stage, there which laughably requested that I get on the radios to sort out a vehicle escort to meet them from their Acoustic Stage gig (erm, ailment did you read any of my emails?) They then ignored all my later frantic calls. Professional. Still, they probably wouldn’t have had much of an audience, what with them clashing with that embarrassing worldcup football match and all.
I missed most of Pete the Temp but managed to catch him performing some fun mashed up covers dressed in a tutu from our grand raffle.
Lulu and the Lampshades decided to play at the last minute once their Glastonbury tickets were confirmed. Fronted by my former art editor, the super talented Luisa Gerstein, I am ashamed to say that this was the first time I had seen them perform live. I had previously only visited them on myspace, which really doesn’t do justice to their ace live performance. Playing on a variety of strange string instruments, an old typewriter and an assortment of pots, pans and donating buckets scoured from the Climate Camp kitchen, they were incredibly inventive.
Both myself and Luisa have camped extensively with Forest School Camps, and her glorious melodies reflect the mix of traditional English, Irish, Scottish and American Bluegrass music that we love to sing around campfires.
Lulu and the Lampshades ended on an acapella version of traditional gospel song You’re Gonna Miss Me When I’m Gone – here performed with just two of the band members and some old yoghurt pots (another trick I suspect she learnt around the campfire). A cult classic if ever I saw one – there are already multiple tributes on youtube.
Luisa’s best bit about playing the Tripod Stage: our make-shift drum-kit from the catering tent. Luisa’s best bit about Glastonbury this year: Sunday evening: Mountain Man in the Crow’s Nest followed by Dirty Projectors followed by Stevie Wonder; twas dreamy.
You can catch Lulu and the Lampshades at Bestival later this year.
Cats and Cats and Cats then borrowed a number of instruments from Lulu and the Lampshades to play another exclusive for the Tripod Stage, lead singer Ben George having come down from his parent’s pottery stand in the Green Fields to offer us the gig. Quite fortuitously Cats and Cats and Cats have their debut album If I’d Had An Atlas out next week, so we were treated to stripped down versions of a range of songs which I’ve since been able to listen to on record.
When and where was the album recorded?
If I’d Had An Atlas was recorded over 11 days in deepest darkest Wales (Giant Wafer Studios in the Brecon Beacons), it was great to be so far away from any bustling cities and we could really concentrate there. We also did some recordings of extra instruments (tuba, cello, accordion etc.) in Folkestone at Barewires Studios.
What inspired the name If I’d Had An Atlas?
The name is from a lyric in the title track which reads “I don’t know, if I’d had an atlas, where we would be,” which fell out of my brain at some point and I scribbled it down. I like the imagery of someone imagining that if they’d had a map they would have done things differently but of course there is no map and life is chaotic and that’s why it’s amazing.
What was the best bit about playing on the Tripod Stage?
I really enjoyed just turning up and using what instruments we could gather to piece together a set and then managing to pull it off! Thanks loads to Lulu and the Lampshades for lending us their equipment and also for being really brilliant. The only bad point was when I dedicated a song to my brother only to find he’d run off to watch Nora Jones!
What was your favourite part of Glastonbury this year?
I saw some of my favourite Glastonbury performances this year by bands like: Boxcar Aldous Huxley, Tubelord, the Dirty Projectors, Meursault and Imogen Heap; I was also gobsmacked at the lightning men and amounts of fire in Arcadia. But I have to say the weather, I was there for 8 days and I didn’t see a drop of rain. Amazing.
What other festivals are you playing at?
We’ve got a couple more lined up in July: Lounge on the Farm in Canterbury on Friday 9th (at 12pm) and 2000 Trees Festival in Cheltenham on Saturday 17th. Then we’ll be playing a farewell show for our violin player in London at some point as she’s leaving the band, but we’ll be back on the scene in October for a UK tour. Hopefully see you soon.
Ben has one of those voices that delights in the slightly out of the tune: it shouldn’t work but most of the time it somehow does: his wailing vocals become a feature in themselves, especially when offset against such a lush backdrop: brass, strings, entire orchestras, choirs, all have their place on this album – occasionally screeching to a standstill that echoes the offkilter vocals. It’s all great fun. Stand out single A Boy Called Haunts is a triumphant melody about… a boy who is trying to impress a girl, so he dresses up as a ghost on Halloween. Only trouble is that he then becomes a real ghost and discovers that she spends her free time having sex with men in porn films. As you do. Ben has been learning Japanese for 3 years so he decided to write a song in Japanese “half to see if I could and half to show off”.
Towards the end of the album curveball Suizokukanni works surprisingly well, even if the subject matter is equally bonkers. In it Ben’s fictional brother talks to the fish in the garden pond so he gets shunned. One day Ben hears the fish in the garden calling his name and realises he can talk to them. The last line roughly translates to “Lets go to the aquarium together and never return!”. This is followed by the beautiful The Smallest Song, a much quieter and more subdued affair, even as the brass section kicks in. The next single will be If I’d Had Antlers, which features sawed and plucked violin melded to trademark awkward beats and a surprisingly delicate melody. Watch out for the animated video. Cats and Cats and Cats might be an acquired taste, but they’re wonderfully original and definitely a grower. Well worth checking out.
Our final performer was another late booking – Attila the Stockbroker, pint in hand, gave us some grand punk beat poetry. 60 years old and able to give any number of youngsters a run for their money. I’d like to see more of him one day.
And so ended my Tripod Stage musical line-up. And what a joy it was. Here’s hoping we can do as well next year…
On Sunday we lost a few and gained a few. Pete Lawrie called by with terrible hayfever to say he couldn’t sing for fear of losing his voice but kindly volunteered to perform at another Climate Camp benefit. Of course I made him stand in front of our banners so I could get a photo anyway.
Pete Lawrie.
Robinson just didn’t turn up. I missed a phone call whilst doing an impromptu Green Kite Midnight gig at the Greenpeace Stage, diagnosis which laughably requested that I get on the radios to sort out a vehicle escort to meet them from their Acoustic Stage gig (erm, information pills did you read any of my emails?) They then ignored all my later frantic calls. Professional. Still, they probably wouldn’t have had much of an audience, what with them clashing with that embarrassing worldcup football match and all.
I missed most of Pete the Temp but managed to catch him performing some fun mashed up covers dressed in a tutu from our grand raffle.
Lulu and the Lampshades decided to play at the last minute once their Glastonbury tickets were confirmed. Fronted by my former art editor, the super talented Luisa Gerstein, I am ashamed to say that this was the first time I had seen them perform live. I had previously only visited them on myspace, which really doesn’t do justice to their ace live performance. Playing on a variety of strange string instruments, an old typewriter and an assortment of pots, pans and donating buckets scoured from the Climate Camp kitchen, they were incredibly inventive.
Both myself and Luisa have camped extensively with Forest School Camps, and her glorious melodies reflect the mix of traditional English, Irish, Scottish and American Bluegrass music that we love to sing around campfires.
Lulu and the Lampshades ended on an acapella version of traditional gospel song You’re Gonna Miss Me When I’m Gone – here performed with just two of the band members and some old yoghurt pots (another trick I suspect she learnt around the campfire). A cult classic if ever I saw one – there are already multiple tributes on youtube.
Luisa’s best bit about playing the Tripod Stage: our make-shift drum-kit from the catering tent. Luisa’s best bit about Glastonbury this year: Sunday evening: Mountain Man in the Crow’s Nest followed by Dirty Projectors followed by Stevie Wonder; twas dreamy.
You can catch Lulu and the Lampshades at Bestival later this year.
Cats and Cats and Cats then borrowed a number of instruments from Lulu and the Lampshades to play another exclusive for the Tripod Stage, lead singer Ben George having come down from his parent’s pottery stand in the Green Fields to offer us the gig. Quite fortuitously Cats and Cats and Cats have their debut album If I’d Had An Atlas out next week, so we were treated to stripped down versions of a range of songs which I’ve since been able to listen to on record.
When and where was the album recorded?
If I’d Had An Atlas was recorded over 11 days in deepest darkest Wales (Giant Wafer Studios in the Brecon Beacons), it was great to be so far away from any bustling cities and we could really concentrate there. We also did some recordings of extra instruments (tuba, cello, accordion etc.) in Folkestone at Barewires Studios.
What inspired the name If I’d Had An Atlas?
The name is from a lyric in the title track which reads “I don’t know, if I’d had an atlas, where we would be,” which fell out of my brain at some point and I scribbled it down. I like the imagery of someone imagining that if they’d had a map they would have done things differently but of course there is no map and life is chaotic and that’s why it’s amazing.
What was the best bit about playing on the Tripod Stage?
I really enjoyed just turning up and using what instruments we could gather to piece together a set and then managing to pull it off! Thanks loads to Lulu and the Lampshades for lending us their equipment and also for being really brilliant. The only bad point was when I dedicated a song to my brother only to find he’d run off to watch Nora Jones!
What was your favourite part of Glastonbury this year?
I saw some of my favourite Glastonbury performances this year by bands like: Boxcar Aldous Huxley, Tubelord, the Dirty Projectors, Meursault and Imogen Heap; I was also gobsmacked at the lightning men and amounts of fire in Arcadia. But I have to say the weather, I was there for 8 days and I didn’t see a drop of rain. Amazing.
What other festivals are you playing at?
We’ve got a couple more lined up in July: Lounge on the Farm in Canterbury on Friday 9th (at 12pm) and 2000 Trees Festival in Cheltenham on Saturday 17th. Then we’ll be playing a farewell show for our violin player in London at some point as she’s leaving the band, but we’ll be back on the scene in October for a UK tour. Hopefully see you soon.
Ben has one of those voices that delights in the slightly out of the tune: it shouldn’t work but most of the time it somehow does: his wailing vocals become a feature in themselves, especially when offset against such a lush backdrop: brass, strings, entire orchestras, choirs, all have their place on this album – occasionally screeching to a standstill that echoes the offkilter vocals. It’s all great fun. Stand out single A Boy Called Haunts is a triumphant melody about… a boy who is trying to impress a girl, so he dresses up as a ghost on Halloween. Only trouble is that he then becomes a real ghost and discovers that she spends her free time having sex with men in porn films. As you do. Ben has been learning Japanese for 3 years so he decided to write a song in Japanese “half to see if I could and half to show off”.
Towards the end of the album curveball Suizokukanni works surprisingly well, even if the subject matter is equally bonkers. In it Ben’s fictional brother talks to the fish in the garden pond so he gets shunned. One day Ben hears the fish in the garden calling his name and realises he can talk to them. The last line roughly translates to “Lets go to the aquarium together and never return!”. This is followed by the beautiful The Smallest Song, a much quieter and more subdued affair, even as the brass section kicks in. The next single will be If I’d Had Antlers, which features sawed and plucked violin melded to trademark awkward beats and a surprisingly delicate melody. Watch out for the animated video. Cats and Cats and Cats might be an acquired taste, but they’re wonderfully original and definitely a grower. Well worth checking out.
Our final performer was another late booking – Attila the Stockbroker, pint in hand, gave us some grand punk beat poetry. 60 years old and able to give any number of youngsters a run for their money. I’d like to see more of him one day.
And so ended my Tripod Stage musical line-up. And what a joy it was. Here’s hoping we can do as well next year…
Get Cape. Wear Cape. Fly. by June Chanpoomidole.
Our Saturday starter was none other than Sam Duckworth of Get Cape. Wear Cape. Fly. who changed his stage time so that he could watch the ill-fated England match on Sunday. Those Climate Campers who knew him were suitably excited and soon stood on the corner of the Craft Field with the megaphone. It’s amazing what a big name does… the festival goers were soon flooding into our small area, page slightly disbelieving that our wee stage could be hosting such a well known musician.
Meanwhile I stood slightly panicked on the entrance as the minutes slowly ticked by… and then Sam came ambling down the leafy rise, slightly late having come straight from taking part in a debate about the rise of the BNP at the Leftfield Stage. A more mild mannered and charming young man you would be hard to come by, but Sam’s grasp of how important it is to speak out against the ills of this world is admirable. Without undue ceremony he was soon aboard the Tripod Stage, holding a borrowed acoustic guitar. “Can you all hear me? I’ve got a big voice so I can sing louder!”
Sunglassed against the blazing heat Sam sung new songs from his upcoming album alongside old crowd pleasers such as One More With Feeling. Unbidden he spoke with passion of meeting a Bangladeshi woman who had lost her family as a direct result of the effects of climate change, and how important it is to stand up to the big corporations. A truly special young man who has been off my radar for awhile, I now remember why I featured Get Cape. Wear Cape. Fly. in Amelia’s Magazine all those years ago. What a star. Sam’s new single Collapsing Cities is out in August, followed by a 22 date tour in September and October.
Next up we had Kyla La Grange, a beautiful girl with a stunning voice (does it matter that she was beautiful? It shouldn’t, but she really was, what can I say? And talented…) She arrived without fanfare and I found her practicing behind our van on the same acoustic guitar that Sam had borrowed.
This was the first time in awhile that the husky voiced Kyla had played her songs without added production but she’s an accomplished songwriter and songs like the catchy single Vampire Smile worked just as well without backing. Definitely a talent to watch: her debut album is currently in production.
Kyla’s favourite bits of Glastonbury: Arcadia was absolutely brilliant but as far as performances go it was a tie between Laura Marling and Florence and the Machine. They were both faultless.
Patch William were another band we shared with the BBC Introducing stage (or should that be the other way around). They arrived complete with their own recording facilities, although I will hopefully attempt to cobble together some of the footage I shot myself (oh Final Cut Pro, how I yearn to learn your charms).
Fronted by William and his god sister Ali, Patch William braved the blazing heat dressed as if they had just stepped out of a fairytale, all flowing hair, wide trousers and Ali crowned in a flower garland so beloved of festival goers this year. Their melodic harmonies were perfect for a lazy summer day such as this, and culminated in the Ivor Novello nominated The Last Bus, a stunning song that saw Ali nimbly swap from guitar to cello. Just gorgeous.
Patch William liked playing the Tripod Stage because: It was great to be able to play a set which was powered solely by a solar panel! Patch William’s favourite bits of Glastonbury: Discovering a naked mermaid at Shangri La and being able to say ‘hello glastonbury’ during our set (something which we’d only dreamed of before).
Patch William play the Firefly Music Festival and Belladrum Festival in Scotland. Their next single release will be Skinny White Boy and they plan to go on tour in September. Watch their set at BBC Introducing here.
Then we were supposed to host The Federals, but unfortunately some misunderstood information meant that they hadn’t come prepared for our particular stage set up and all I got was this picture.
Oh well! You win some you lose some: they seemed like nice lads, and went on to play, yes, you’ve guessed it, the BBC Introducing stage. Instead we had a bit of a gap before an exclusive secret set from the wonderful Robin Ince… who turned up a good hour early so we all sat around having a cup of tea and a chinwag.
Robin was determined to perform his set back to front, so I would be introducing him after he’d finished, and Danny Chivers could come on as a warm up act at the end. This meant that Robin also started sat on the floor with his back to the audience. To another disbelieving crowd – “Yes, we really do have Robin Ince performing here in a minute” – Robin gave a brilliant performance that touched on themes of favourite suicides, the use of jazz hands in the popularisation of science and banality in politics.
I’ve uploaded part of his performance for your delection here:
At the end he called on me to come up and introduce him, but then carried on heckling me from the floor. Can anyone tell me, did he do his gig in the Comedy Tent during the England match on Sunday dressed as an octopus? Muchos love going out to you Robin.
Last but by no means least the Tripod Stage was delighted to host Dry the River, a folk band from East London attired in vaguely matched check shirts. Accompanied by guitar, bass, violin, glockenspiel and snare drum, Dry the River sing of history, culture, religion – often in gorgeous four part falsetto boy harmonies. Lead singer Peter Liddle studied anthropology and is now en route to become a doctor; a background that clearly informs his unusual lyrics. If there is any sense in this world Dry the River will be a major success: in fact if I were the betting kind I would lay the notes down hand over fist for this unsigned band. Really really brilliant, I feel so blessed to have found them.
I asked bearded bassist Scott to answer a few questions:
Scott’s feelings on the Tripod Stage gig: The Climate Camp Tripod Stage was awesome! We played as the sunshine beamed down on our faces, and the people around were so laid back and friendly. Plus we all got a cup of tea while we played which was like a dream after two days of camping. We even got a chance to road-test a new tune we’ve been working on because of the relaxed atmosphere of the show, and it went down well!
Scott’s favourite part of Glastonbury: It’s tough to pick a ‘best bit’ for the whole weekend but for me heading out to get lost in the maze of Shangri La at night was amazing, and bumping into Neville Staple backstage in the Dance Arena was pretty cool. Obviously the gigs we were able to play while we were there all stand out too, the Climate Camp for the friendly hospitable people there, the Crow’s Nest for the amazing view of the whole festival at sunset and of course the BBC Introducing set was just so exciting with the cameras and everything.
Make sure you catch up with Dry the River live – they’re playing Standon Calling, the Big Chill and Underground Festival in Gloucester. You can download a FREE 3 track EP from their myspace which includes an unreleased version of Coast, a never before heard track recorded earlier this summer. Dry the River headline the Lexington on September 30th and you can buy tickets here. In the meantime see them on BBC Introducing here.
What is the impact on our relationship with the environment – when existing in a world where sensor monitors constantly interpret our daily surroundings, producing endless streams of data? Are we moving into the final phrase of Walter Benjamin’s The Work of Art in the Age of Mechanical Reproduction?
Photograph by Ludwig Zeller
The Weather Camera is Kjen Wilkens response to her search for a human presence within this deluge of electronic readings. Instead of taking a photograph to a record a special moment, the user of The Weather Camera can record the atmospheric conditions, weaving these into autobiographical memory. In time encouraging new methods of narration, titled by the designer as “Sensor Poetics.”
Becky Pilditch‘s prothestics are “objects of empowerment”, showcasing how functional pieces of designs can be both a thing of beauty and an extension of the wearer’s personality. Becky worked and developed the project with Holly Franklin .
Hand 8 the final part of the project, played with ideas of gesture and personality by creating numerous arms that related to Holly’s actions as she spoke or moved around a space. A fantastic aspect of the website is the blog, which can be used by other prosthetic limb users to feed back directly to the project.
In the Animation section of the exhibition Lauri Warsta’s Traumdeutung awaited. A wonderful animation baring the hallmarks (whatever that may mean…) of a “documentary,” the calming, not too dissimilar to the 1940′s DONT PANIC! voiceover narrated the data currently available on the subject matter: The Global Reserves of Dreams. The beauty of the animation, being it contained the possibility, that it was entirely a dream.
The subtle block coloring of the animation maintained a ‘warmth’ more accustomed with hand drawn animation, that can sometimes be lost in 3D animation. This is an outcome of Warsta’s experiments in combining; “two extremes (3D and Handmade) clash and merge. For example, bringing the uncontrollable movement of real hand-held footage to an otherwise sterile computer animation”
Adnan Lalani‘s experiment with augmented reality catches the attention, through being something the viewer can interact with. The action of turning the Pop Up Book’s pages is suplimented by additional narration appearing on the screen placed directly behind the book and inline with the viewers eye.
Below is a video documenting the Pop Up Book’s Prototype. Earlier this week Adnan kindly took a few moments to explain the idea behind combining the narrative structure of a Pop Up Book with Augmented reality: “The pop-up book felt like a natural compliment to augmented reality. I was hoping to see how AR could be used in a more tactile, playful context… i.e. take something we already know and play with, and allow it to be enhanced with animation and digital interactivity.”
Eventually Adnan hopes that as we grow increasingly comfortable with the idea of Augmented Reality, ideas like the Pop Up book ” can allow a progression from the magical, novelty nature of AR, into more of a direct tool by which to communicate narratives and story telling”
The eye catching work of Design Interaction Graduate Louise O’Conner; used experimental dance to convey the movement of the smallest particles, for example: Atoms, in an attempt to connect us to movements that are beyond our physical awareness. Visit the exhibition to watch the film!
A particular lovely idea was the mapping out to scale, the measurements of the solar system along Kingsland High Street and up into Stamford Hill. Several shopkeepers were to host a planet…
Photography by Mark Henderson
You can find the map and information about the project here:
Katrin Baumgarten’s Aesthetics of Disgust explores humans’ relationship and our reactions; both emotional and physical to the things or materials which disgust us. Using inanimate objects all too often taken for granted, (i.e. Light Switches) Kartin added disturbing features such as goo or hair that moved as the light switch is pressed. By ‘touching’ us back, the presence of these inanimate objects is brought back to the forefront of our attention.
In the installation at the Royal College of Art a screen documents the level of the reaction of each user.
Another subject explored by Katrina is Intimate touch or sexual disgust and how these feelings can be created “merely by inappropriate behaviours in society, such as touching another person in an intimate or sexual way in public, even though that might comfort the two persons involved and is a part of our human nature.” The outcome of which is the Intimate Touch Object, an item which enables you to touch another person secretly…
FINALLY on my second trip (yes second, it’s that big and really worth the time) I came across the brilliant work of Sivaprakash Shanmugam’s Expressive Scribble. Children draw onto the projector screen (this could be the kitchen floor, wall etc…) and an bring their drawings to life by clicking the ‘movie’ button. The idea being to “enrich their visual vocabulary,” sense of narrative and most importantly encourage children’s creativity.
Part two of the RCA show continues until 4th July 2010. It’s open from 11-8 daily at the Royal College of Art, Kensington Gore, London SW7 2EU. Admission is free.
Images Courtesy of the Students and addition photographs by Sally Mumby-Croft
At the start of June I went on an exciting adventure to Ireland… on a borrowed bike from Velorution. It was a trip I’ve looked forward to for a long time because it combined two of my favourite things in the world. Or maybe three: Cycling (I love cycling A LOT), activism (we had a purpose) and being in lovely places with lovely people.
The Merthyr to Mayo bike ride was organised by a loose group of activists based around the country and included members of Bicycology, a cyclists’ collective who aim “to promote cycling and make links with wider issues of environmental and social responsibility”. This intrepid group of riders set off from the open cast coal mine at Merthyr Tydfil in Wales, armed only with an explanatory newspaper and lots of verve. The solidarity ride ended at Rossport in County Mayo, Ireland, thereby linking two communities who are resisting fossil fuel extraction, and educating other communities along the way.
Mini ceilidh en route in Wales.
An added bonus of this trip was the opportunity to play with my ceilidh band Green Kite Midnight, since providing music for people to dance to at protests is the very reason for our existence. Luckily our banjo player Dom has bought a big ambulance which he has lovingly converted into a tour bus for the band – and thus we set off for Ireland via Wales, stopping to spend the night at the parental house of our bassist Tim, way up in the secluded Welsh mountains. It was then onward to Holyhead, where we caught the ferry over to Dublin and carried straight onto Galway to meet the rest of the crew, who were hastily organising a demo against the atrocities against the flotilla bound for Gaza.
We marched straight into the local branch of M&S (to draw attention to the chain’s affiliation with the development of the Israeli state) much to the bemusement of Irish security guards, clearly not used to such confident behaviour. We then joined a gathering in the street organised by locals, but were eventually rained into the closest pub and from there we retired early to a friendly local’s house, quickly to sleep in preparation for our 90km ride the next day.
Awaiting news in the pub… many people knew activists on the flotilla.
We had been warned that Irish roads are quite dangerous and on our first day I did feel a little less than wholly safe, stuck on a narrow hard shoulder as – head down, legs pumping – we powered through the countryside with little more than a brief break for lunch in a small town.
The main thing I noticed about rural Ireland is the predominance of ugly newbuild housing estates. Boy do the Irish like to build some shoddy housing! The more upmarket modern houses favour the architecture of American TV series such as Dallas from the 80s – amusing for their kitsch value if nothing else – but at the bottom end of the spectrum the Barrett home style identikit boxes are nothing short of a blot on the landscape.
Endless housing estates.
Like many other economies the Irish housing boom was completely unsustainable, and speculative construction has given way to half-finished housing estates fronted by signs that looked spangly a few years ago, now peeling and faded.
Okay, so I was a bit worried about the length of our first day’s ride with no preliminary warm up – but I needn’t have been. With nothing but a vista of endless stone walls, housing estates and crumbling barns (the Irish prefer new builds to renovations, apparently) to distract us from our mission, our little affinity group was one of the first to arrive at our final destination – the Lidl carpark at Castlerea. Being rather fast and meeting at Lidl – these were both to become a bit of a theme…
Once everyone had arrived at we we were herded up the longest steepest hill I’ve ever tackled with such a heavy load… and this after a long hard day too. I stayed on my bike to the very top but boy was I glad that I hadn’t brought my Pashley – it never would have made it.
At the top our destination was a gorgeous stretch of land bordered by woods, owned by some friendly Pagans who greeted us with lentil stew brewed for us in a cauldron over the fire surrounded by medieval-style tents. Our two nights spent on the hill top were characterised by excessive amounts of midges and late night music sessions. The intervening day was spent at Castlerea Prison, which you can read about in my next blog here.
Written by Amelia Gregory on Friday July 2nd, 2010 7:55 pm
On Sunday we lost a few and gained a few. Pete Lawrie called by with terrible hayfever to say he couldn’t sing for fear of losing his voice but kindly volunteered to perform at another Climate Camp benefit. Of course I made him stand in front of our banners so I could get a photo anyway.
Pete Lawrie.
Robinson just didn’t turn up. I missed a phone call whilst doing an impromptu Green Kite Midnight gig at the Greenpeace Stage, nurse which laughably requested that I get on the radios to sort out a vehicle escort to meet them from their Acoustic Stage gig (erm, buy information pills did you read any of my emails?) They then ignored all my later frantic calls. Professional. Still, they probably wouldn’t have had much of an audience, what with them clashing with that embarrassing worldcup football match and all. I missed most of Pete the Temp but managed to catch him performing some fun mashed up covers dressed in a tutu from our grand raffle.
Lulu and the Lampshades decided to play at the last minute once their Glastonbury tickets were confirmed. Fronted by my former art editor, the super talented Luisa Gerstein, I am ashamed to say that this was the first time I had seen them perform live. I had previously only visited them on myspace, which really doesn’t do justice to their ace live performance. Playing on a variety of strange string instruments, an old typewriter and an assortment of pots, pans and donating buckets scoured from the Climate Camp kitchen, they were incredibly inventive.
Both myself and Luisa have camped extensively with Forest School Camps, and her glorious melodies reflect the mix of traditional English, Irish, Scottish and American Bluegrass music that we love to sing around campfires.
Lulu and the Lampshades ended on an acapella version of traditional gospel song You’re Gonna Miss Me When I’m Gone – here performed with just two of the band members and some old yoghurt pots (another trick I suspect she learnt around the campfire). A cult classic if ever I saw one – there are already multiple tributes on youtube.
Luisa’s best bit about playing the Tripod Stage: our make-shift drum-kit from the catering tent. Luisa’s best bit about Glastonbury this year: Sunday evening: Mountain Man in the Crow’s Nest followed by Dirty Projectors followed by Stevie Wonder; twas dreamy.
You can catch Lulu and the Lampshades at Bestival later this year.
Cats and Cats and Cats then borrowed a number of instruments from Lulu and the Lampshades to play another exclusive for the Tripod Stage, lead singer Ben George having come down from his parent’s pottery stand in the Green Fields to offer us the gig. Quite fortuitously Cats and Cats and Cats have their debut album If I’d Had An Atlas out this week, so we were treated to stripped down versions of a range of songs which I’ve since been able to listen to on record.
When and where was the album recorded?
If I’d Had An Atlas was recorded over 11 days in deepest darkest Wales (Giant Wafer Studios in the Brecon Beacons), it was great to be so far away from any bustling cities and we could really concentrate there. We also did some recordings of extra instruments (tuba, cello, accordion etc.) in Folkestone at Barewires Studios.
What inspired the name If I’d Had An Atlas?
The name is from a lyric in the title track which reads “I don’t know, if I’d had an atlas, where we would be,” which fell out of my brain at some point and I scribbled it down. I like the imagery of someone imagining that if they’d had a map they would have done things differently but of course there is no map and life is chaotic and that’s why it’s amazing.
What was the best bit about playing on the Tripod Stage?
I really enjoyed just turning up and using what instruments we could gather to piece together a set and then managing to pull it off! Thanks loads to Lulu and the Lampshades for lending us their equipment and also for being really brilliant. The only bad point was when I dedicated a song to my brother only to find he’d run off to watch Nora Jones!
What was your favourite part of Glastonbury this year?
I saw some of my favourite Glastonbury performances this year by bands like: Boxcar Aldous Huxley, Tubelord, The Dirty Projectors, Meursault and Imogen Heap; I was also gobsmacked at the lightning men and amounts of fire in Arcadia. But I have to say the weather, I was there for 8 days and I didn’t see a drop of rain. Amazing.
What other festivals are you playing at?
We’ve got a couple more lined up in July: Lounge on the Farm in Canterbury on Friday 9th (at 12pm) and 2000 Trees Festival in Cheltenham on Saturday 17th. Then we’ll be playing a farewell show for our violin player in London at some point as she’s leaving the band, but we’ll be back on the scene in October for a UK tour. Hopefully see you soon.
Ben has one of those voices that delights in the slightly out of the tune: it shouldn’t work, and sometimes it grates, but most of the time it somehow does: his wailing vocals become a feature in themselves, especially when offset against such a lush backdrop: brass, strings, entire orchestras, choirs, all of which have their place on this album – occasionally screeching to a standstill that echoes the offkilter vocals. It’s all great fun. Stand out single A Boy Called Haunts is a triumphant melody about
An acquired taste maybe, but wonderfully original and definitely a grower. Well worth checking out.
Our final performer was another late booking – Attila the Stockbroker, pint in hand, gave us some grand punk beat poetry. 60 years old and able to give any number of youngsters a run for their money. I’d like to see more of him one day.
And so ended my Tripod Stage musical line-up. And what a joy it was. Here’s hoping we can do as well next year…
On Sunday we lost a few and gained a few. Pete Lawrie called by with terrible hayfever to say he couldn’t sing for fear of losing his voice but kindly volunteered to perform at another Climate Camp benefit. Of course I made him stand in front of our banners so I could get a photo anyway.
Pete Lawrie.
Robinson just didn’t turn up. I missed a phone call whilst doing an impromptu Green Kite Midnight gig at the Greenpeace Stage, patient which laughably requested that I get on the radios to sort out a vehicle escort to meet them from their Acoustic Stage gig (erm, stomach did you read any of my emails?) They then ignored all my later frantic calls. Professional. Still, pharmacy they probably wouldn’t have had much of an audience, what with them clashing with that embarrassing worldcup football match and all.
I missed most of Pete the Temp but managed to catch him performing some fun mashed up covers dressed in a tutu from our grand raffle.
Lulu and the Lampshades decided to play at the last minute once their Glastonbury tickets were confirmed. Fronted by my former art editor, the super talented Luisa Gerstein, I am ashamed to say that this was the first time I had seen them perform live. I had previously only visited them on myspace, which really doesn’t do justice to their ace live performance. Playing on a variety of strange string instruments, an old typewriter and an assortment of pots, pans and donating buckets scoured from the Climate Camp kitchen, they were incredibly inventive.
Both myself and Luisa have camped extensively with Forest School Camps, and her glorious melodies reflect the mix of traditional English, Irish, Scottish and American Bluegrass music that we love to sing around campfires.
Lulu and the Lampshades ended on an acapella version of traditional gospel song You’re Gonna Miss Me When I’m Gone – here performed with just two of the band members and some old yoghurt pots (another trick I suspect she learnt around the campfire). A cult classic if ever I saw one – there are already multiple tributes on youtube.
Luisa’s best bit about playing the Tripod Stage: our make-shift drum-kit from the catering tent. Luisa’s best bit about Glastonbury this year: Sunday evening: Mountain Man in the Crow’s Nest followed by Dirty Projectors followed by Stevie Wonder; twas dreamy.
You can catch Lulu and the Lampshades at Bestival later this year.
Cats and Cats and Cats then borrowed a number of instruments from Lulu and the Lampshades to play another exclusive for the Tripod Stage, lead singer Ben George having come down from his parent’s pottery stand in the Green Fields to offer us the gig. Quite fortuitously Cats and Cats and Cats have their debut album If I’d Had An Atlas out this week, so we were treated to stripped down versions of a range of songs which I’ve since been able to listen to on record.
When and where was the album recorded?
If I’d Had An Atlas was recorded over 11 days in deepest darkest Wales (Giant Wafer Studios in the Brecon Beacons), it was great to be so far away from any bustling cities and we could really concentrate there. We also did some recordings of extra instruments (tuba, cello, accordion etc.) in Folkestone at Barewires Studios.
What inspired the name If I’d Had An Atlas?
The name is from a lyric in the title track which reads “I don’t know, if I’d had an atlas, where we would be,” which fell out of my brain at some point and I scribbled it down. I like the imagery of someone imagining that if they’d had a map they would have done things differently but of course there is no map and life is chaotic and that’s why it’s amazing.
What was the best bit about playing on the Tripod Stage?
I really enjoyed just turning up and using what instruments we could gather to piece together a set and then managing to pull it off! Thanks loads to Lulu and the Lampshades for lending us their equipment and also for being really brilliant. The only bad point was when I dedicated a song to my brother only to find he’d run off to watch Nora Jones!
What was your favourite part of Glastonbury this year?
I saw some of my favourite Glastonbury performances this year by bands like: Boxcar Aldous Huxley, Tubelord, the Dirty Projectors, Meursault and Imogen Heap; I was also gobsmacked at the lightning men and amounts of fire in Arcadia. But I have to say the weather, I was there for 8 days and I didn’t see a drop of rain. Amazing.
What other festivals are you playing at?
We’ve got a couple more lined up in July: Lounge on the Farm in Canterbury on Friday 9th (at 12pm) and 2000 Trees Festival in Cheltenham on Saturday 17th. Then we’ll be playing a farewell show for our violin player in London at some point as she’s leaving the band, but we’ll be back on the scene in October for a UK tour. Hopefully see you soon.
Ben has one of those voices that delights in the slightly out of the tune: it shouldn’t work, and sometimes it grates, but most of the time it somehow does: his wailing vocals become a feature in themselves, especially when offset against such a lush backdrop: brass, strings, entire orchestras, choirs, all of which have their place on this album – occasionally screeching to a standstill that echoes the offkilter vocals. It’s all great fun. Stand out single A Boy Called Haunts is a triumphant melody about
An acquired taste maybe, but wonderfully original and definitely a grower. Well worth checking out.
Our final performer was another late booking – Attila the Stockbroker, pint in hand, gave us some grand punk beat poetry. 60 years old and able to give any number of youngsters a run for their money. I’d like to see more of him one day.
And so ended my Tripod Stage musical line-up. And what a joy it was. Here’s hoping we can do as well next year…
On Sunday we lost a few and gained a few. Pete Lawrie called by with terrible hayfever to say he couldn’t sing for fear of losing his voice but kindly volunteered to perform at another Climate Camp benefit. Of course I made him stand in front of our banners so I could get a photo anyway.
Pete Lawrie.
Robinson just didn’t turn up. I missed a phone call whilst doing an impromptu Green Kite Midnight gig at the Greenpeace Stage, price which laughably requested that I get on the radios to sort out a vehicle escort to meet them from their Acoustic Stage gig (erm, did you read any of my emails?) They then ignored all my later frantic calls. Professional. Still, they probably wouldn’t have had much of an audience, what with them clashing with that embarrassing worldcup football match and all.
I missed most of Pete the Temp but managed to catch him performing some fun mashed up covers dressed in a tutu from our grand raffle.
Lulu and the Lampshades decided to play at the last minute once their Glastonbury tickets were confirmed. Fronted by my former art editor, the super talented Luisa Gerstein, I am ashamed to say that this was the first time I had seen them perform live. I had previously only visited them on myspace, which really doesn’t do justice to their ace live performance. Playing on a variety of strange string instruments, an old typewriter and an assortment of pots, pans and donating buckets scoured from the Climate Camp kitchen, they were incredibly inventive.
Both myself and Luisa have camped extensively with Forest School Camps, and her glorious melodies reflect the mix of traditional English, Irish, Scottish and American Bluegrass music that we love to sing around campfires.
Lulu and the Lampshades ended on an acapella version of traditional gospel song You’re Gonna Miss Me When I’m Gone – here performed with just two of the band members and some old yoghurt pots (another trick I suspect she learnt around the campfire). A cult classic if ever I saw one – there are already multiple tributes on youtube.
Luisa’s best bit about playing the Tripod Stage: our make-shift drum-kit from the catering tent. Luisa’s best bit about Glastonbury this year: Sunday evening: Mountain Man in the Crow’s Nest followed by Dirty Projectors followed by Stevie Wonder; twas dreamy.
You can catch Lulu and the Lampshades at Bestival later this year.
Cats and Cats and Cats then borrowed a number of instruments from Lulu and the Lampshades to play another exclusive for the Tripod Stage, lead singer Ben George having come down from his parent’s pottery stand in the Green Fields to offer us the gig. Quite fortuitously Cats and Cats and Cats have their debut album If I’d Had An Atlas out this week, so we were treated to stripped down versions of a range of songs which I’ve since been able to listen to on record.
When and where was the album recorded?
If I’d Had An Atlas was recorded over 11 days in deepest darkest Wales (Giant Wafer Studios in the Brecon Beacons), it was great to be so far away from any bustling cities and we could really concentrate there. We also did some recordings of extra instruments (tuba, cello, accordion etc.) in Folkestone at Barewires Studios.
What inspired the name If I’d Had An Atlas?
The name is from a lyric in the title track which reads “I don’t know, if I’d had an atlas, where we would be,” which fell out of my brain at some point and I scribbled it down. I like the imagery of someone imagining that if they’d had a map they would have done things differently but of course there is no map and life is chaotic and that’s why it’s amazing.
What was the best bit about playing on the Tripod Stage?
I really enjoyed just turning up and using what instruments we could gather to piece together a set and then managing to pull it off! Thanks loads to Lulu and the Lampshades for lending us their equipment and also for being really brilliant. The only bad point was when I dedicated a song to my brother only to find he’d run off to watch Nora Jones!
What was your favourite part of Glastonbury this year?
I saw some of my favourite Glastonbury performances this year by bands like: Boxcar Aldous Huxley, Tubelord, the Dirty Projectors, Meursault and Imogen Heap; I was also gobsmacked at the lightning men and amounts of fire in Arcadia. But I have to say the weather, I was there for 8 days and I didn’t see a drop of rain. Amazing.
What other festivals are you playing at?
We’ve got a couple more lined up in July: Lounge on the Farm in Canterbury on Friday 9th (at 12pm) and 2000 Trees Festival in Cheltenham on Saturday 17th. Then we’ll be playing a farewell show for our violin player in London at some point as she’s leaving the band, but we’ll be back on the scene in October for a UK tour. Hopefully see you soon.
Ben has one of those voices that delights in the slightly out of the tune: it shouldn’t work, and sometimes it grates, but most of the time it somehow does: his wailing vocals become a feature in themselves, especially when offset against such a lush backdrop: brass, strings, entire orchestras, choirs, all of which have their place on this album – occasionally screeching to a standstill that echoes the offkilter vocals. It’s all great fun. Stand out single A Boy Called Haunts is a triumphant melody about… a boy who is trying to impress a girl, so he dresses up as a ghost on Halloween. Only trouble is that he then becomes a real ghost and discovers that she spends her free time having sex with men in porn films. As you do. Ben has been learning Japanese for 3 years so he decided to write a song in Japanese “half to see if I could and half to show off”. Towards the end of the album curveball Suizokukanni works surprisingly well, even if the subject matter is equally bonkers. In it Ben’s fictional brother talks to the fish in the garden pond so he gets shunned. One day Ben hears the fish in the garden calling his name and realises he can talk to them. The last line roughly translates to “Lets go to the aquarium together and never return!”. This is followed by the beautiful The Smallest Song, a much quieter and more subdued affair, even as the brass section kicks in. The next single will be If I’d Had Antlers, which features sawed and plucked violin melded to off kilter beats and a surprisingly delicate melody. Watch out for the animated video. Cats and Cats and Cats might be an acquired taste, but they’re wonderfully original and definitely a grower. Well worth checking out.
Our final performer was another late booking – Attila the Stockbroker, pint in hand, gave us some grand punk beat poetry. 60 years old and able to give any number of youngsters a run for their money. I’d like to see more of him one day.
And so ended my Tripod Stage musical line-up. And what a joy it was. Here’s hoping we can do as well next year…
On Sunday we lost a few and gained a few. Pete Lawrie called by with terrible hayfever to say he couldn’t sing for fear of losing his voice but kindly volunteered to perform at another Climate Camp benefit. Of course I made him stand in front of our banners so I could get a photo anyway.
Pete Lawrie.
Robinson just didn’t turn up. I missed a phone call whilst doing an impromptu Green Kite Midnight gig at the Greenpeace Stage, there which laughably requested that I get on the radios to sort out a vehicle escort to meet them from their Acoustic Stage gig (erm, ailment did you read any of my emails?) They then ignored all my later frantic calls. Professional. Still, they probably wouldn’t have had much of an audience, what with them clashing with that embarrassing worldcup football match and all.
I missed most of Pete the Temp but managed to catch him performing some fun mashed up covers dressed in a tutu from our grand raffle.
Lulu and the Lampshades decided to play at the last minute once their Glastonbury tickets were confirmed. Fronted by my former art editor, the super talented Luisa Gerstein, I am ashamed to say that this was the first time I had seen them perform live. I had previously only visited them on myspace, which really doesn’t do justice to their ace live performance. Playing on a variety of strange string instruments, an old typewriter and an assortment of pots, pans and donating buckets scoured from the Climate Camp kitchen, they were incredibly inventive.
Both myself and Luisa have camped extensively with Forest School Camps, and her glorious melodies reflect the mix of traditional English, Irish, Scottish and American Bluegrass music that we love to sing around campfires.
Lulu and the Lampshades ended on an acapella version of traditional gospel song You’re Gonna Miss Me When I’m Gone – here performed with just two of the band members and some old yoghurt pots (another trick I suspect she learnt around the campfire). A cult classic if ever I saw one – there are already multiple tributes on youtube.
Luisa’s best bit about playing the Tripod Stage: our make-shift drum-kit from the catering tent. Luisa’s best bit about Glastonbury this year: Sunday evening: Mountain Man in the Crow’s Nest followed by Dirty Projectors followed by Stevie Wonder; twas dreamy.
You can catch Lulu and the Lampshades at Bestival later this year.
Cats and Cats and Cats then borrowed a number of instruments from Lulu and the Lampshades to play another exclusive for the Tripod Stage, lead singer Ben George having come down from his parent’s pottery stand in the Green Fields to offer us the gig. Quite fortuitously Cats and Cats and Cats have their debut album If I’d Had An Atlas out next week, so we were treated to stripped down versions of a range of songs which I’ve since been able to listen to on record.
When and where was the album recorded?
If I’d Had An Atlas was recorded over 11 days in deepest darkest Wales (Giant Wafer Studios in the Brecon Beacons), it was great to be so far away from any bustling cities and we could really concentrate there. We also did some recordings of extra instruments (tuba, cello, accordion etc.) in Folkestone at Barewires Studios.
What inspired the name If I’d Had An Atlas?
The name is from a lyric in the title track which reads “I don’t know, if I’d had an atlas, where we would be,” which fell out of my brain at some point and I scribbled it down. I like the imagery of someone imagining that if they’d had a map they would have done things differently but of course there is no map and life is chaotic and that’s why it’s amazing.
What was the best bit about playing on the Tripod Stage?
I really enjoyed just turning up and using what instruments we could gather to piece together a set and then managing to pull it off! Thanks loads to Lulu and the Lampshades for lending us their equipment and also for being really brilliant. The only bad point was when I dedicated a song to my brother only to find he’d run off to watch Nora Jones!
What was your favourite part of Glastonbury this year?
I saw some of my favourite Glastonbury performances this year by bands like: Boxcar Aldous Huxley, Tubelord, the Dirty Projectors, Meursault and Imogen Heap; I was also gobsmacked at the lightning men and amounts of fire in Arcadia. But I have to say the weather, I was there for 8 days and I didn’t see a drop of rain. Amazing.
What other festivals are you playing at?
We’ve got a couple more lined up in July: Lounge on the Farm in Canterbury on Friday 9th (at 12pm) and 2000 Trees Festival in Cheltenham on Saturday 17th. Then we’ll be playing a farewell show for our violin player in London at some point as she’s leaving the band, but we’ll be back on the scene in October for a UK tour. Hopefully see you soon.
Ben has one of those voices that delights in the slightly out of the tune: it shouldn’t work but most of the time it somehow does: his wailing vocals become a feature in themselves, especially when offset against such a lush backdrop: brass, strings, entire orchestras, choirs, all have their place on this album – occasionally screeching to a standstill that echoes the offkilter vocals. It’s all great fun. Stand out single A Boy Called Haunts is a triumphant melody about… a boy who is trying to impress a girl, so he dresses up as a ghost on Halloween. Only trouble is that he then becomes a real ghost and discovers that she spends her free time having sex with men in porn films. As you do. Ben has been learning Japanese for 3 years so he decided to write a song in Japanese “half to see if I could and half to show off”.
Towards the end of the album curveball Suizokukanni works surprisingly well, even if the subject matter is equally bonkers. In it Ben’s fictional brother talks to the fish in the garden pond so he gets shunned. One day Ben hears the fish in the garden calling his name and realises he can talk to them. The last line roughly translates to “Lets go to the aquarium together and never return!”. This is followed by the beautiful The Smallest Song, a much quieter and more subdued affair, even as the brass section kicks in. The next single will be If I’d Had Antlers, which features sawed and plucked violin melded to trademark awkward beats and a surprisingly delicate melody. Watch out for the animated video. Cats and Cats and Cats might be an acquired taste, but they’re wonderfully original and definitely a grower. Well worth checking out.
Our final performer was another late booking – Attila the Stockbroker, pint in hand, gave us some grand punk beat poetry. 60 years old and able to give any number of youngsters a run for their money. I’d like to see more of him one day.
And so ended my Tripod Stage musical line-up. And what a joy it was. Here’s hoping we can do as well next year…
On Sunday we lost a few and gained a few. Pete Lawrie called by with terrible hayfever to say he couldn’t sing for fear of losing his voice but kindly volunteered to perform at another Climate Camp benefit. Of course I made him stand in front of our banners so I could get a photo anyway.
Pete Lawrie.
Robinson just didn’t turn up. I missed a phone call whilst doing an impromptu Green Kite Midnight gig at the Greenpeace Stage, diagnosis which laughably requested that I get on the radios to sort out a vehicle escort to meet them from their Acoustic Stage gig (erm, information pills did you read any of my emails?) They then ignored all my later frantic calls. Professional. Still, they probably wouldn’t have had much of an audience, what with them clashing with that embarrassing worldcup football match and all.
I missed most of Pete the Temp but managed to catch him performing some fun mashed up covers dressed in a tutu from our grand raffle.
Lulu and the Lampshades decided to play at the last minute once their Glastonbury tickets were confirmed. Fronted by my former art editor, the super talented Luisa Gerstein, I am ashamed to say that this was the first time I had seen them perform live. I had previously only visited them on myspace, which really doesn’t do justice to their ace live performance. Playing on a variety of strange string instruments, an old typewriter and an assortment of pots, pans and donating buckets scoured from the Climate Camp kitchen, they were incredibly inventive.
Both myself and Luisa have camped extensively with Forest School Camps, and her glorious melodies reflect the mix of traditional English, Irish, Scottish and American Bluegrass music that we love to sing around campfires.
Lulu and the Lampshades ended on an acapella version of traditional gospel song You’re Gonna Miss Me When I’m Gone – here performed with just two of the band members and some old yoghurt pots (another trick I suspect she learnt around the campfire). A cult classic if ever I saw one – there are already multiple tributes on youtube.
Luisa’s best bit about playing the Tripod Stage: our make-shift drum-kit from the catering tent. Luisa’s best bit about Glastonbury this year: Sunday evening: Mountain Man in the Crow’s Nest followed by Dirty Projectors followed by Stevie Wonder; twas dreamy.
You can catch Lulu and the Lampshades at Bestival later this year.
Cats and Cats and Cats then borrowed a number of instruments from Lulu and the Lampshades to play another exclusive for the Tripod Stage, lead singer Ben George having come down from his parent’s pottery stand in the Green Fields to offer us the gig. Quite fortuitously Cats and Cats and Cats have their debut album If I’d Had An Atlas out next week, so we were treated to stripped down versions of a range of songs which I’ve since been able to listen to on record.
When and where was the album recorded?
If I’d Had An Atlas was recorded over 11 days in deepest darkest Wales (Giant Wafer Studios in the Brecon Beacons), it was great to be so far away from any bustling cities and we could really concentrate there. We also did some recordings of extra instruments (tuba, cello, accordion etc.) in Folkestone at Barewires Studios.
What inspired the name If I’d Had An Atlas?
The name is from a lyric in the title track which reads “I don’t know, if I’d had an atlas, where we would be,” which fell out of my brain at some point and I scribbled it down. I like the imagery of someone imagining that if they’d had a map they would have done things differently but of course there is no map and life is chaotic and that’s why it’s amazing.
What was the best bit about playing on the Tripod Stage?
I really enjoyed just turning up and using what instruments we could gather to piece together a set and then managing to pull it off! Thanks loads to Lulu and the Lampshades for lending us their equipment and also for being really brilliant. The only bad point was when I dedicated a song to my brother only to find he’d run off to watch Nora Jones!
What was your favourite part of Glastonbury this year?
I saw some of my favourite Glastonbury performances this year by bands like: Boxcar Aldous Huxley, Tubelord, the Dirty Projectors, Meursault and Imogen Heap; I was also gobsmacked at the lightning men and amounts of fire in Arcadia. But I have to say the weather, I was there for 8 days and I didn’t see a drop of rain. Amazing.
What other festivals are you playing at?
We’ve got a couple more lined up in July: Lounge on the Farm in Canterbury on Friday 9th (at 12pm) and 2000 Trees Festival in Cheltenham on Saturday 17th. Then we’ll be playing a farewell show for our violin player in London at some point as she’s leaving the band, but we’ll be back on the scene in October for a UK tour. Hopefully see you soon.
Ben has one of those voices that delights in the slightly out of the tune: it shouldn’t work but most of the time it somehow does: his wailing vocals become a feature in themselves, especially when offset against such a lush backdrop: brass, strings, entire orchestras, choirs, all have their place on this album – occasionally screeching to a standstill that echoes the offkilter vocals. It’s all great fun. Stand out single A Boy Called Haunts is a triumphant melody about… a boy who is trying to impress a girl, so he dresses up as a ghost on Halloween. Only trouble is that he then becomes a real ghost and discovers that she spends her free time having sex with men in porn films. As you do. Ben has been learning Japanese for 3 years so he decided to write a song in Japanese “half to see if I could and half to show off”.
Towards the end of the album curveball Suizokukanni works surprisingly well, even if the subject matter is equally bonkers. In it Ben’s fictional brother talks to the fish in the garden pond so he gets shunned. One day Ben hears the fish in the garden calling his name and realises he can talk to them. The last line roughly translates to “Lets go to the aquarium together and never return!”. This is followed by the beautiful The Smallest Song, a much quieter and more subdued affair, even as the brass section kicks in. The next single will be If I’d Had Antlers, which features sawed and plucked violin melded to trademark awkward beats and a surprisingly delicate melody. Watch out for the animated video. Cats and Cats and Cats might be an acquired taste, but they’re wonderfully original and definitely a grower. Well worth checking out.
Our final performer was another late booking – Attila the Stockbroker, pint in hand, gave us some grand punk beat poetry. 60 years old and able to give any number of youngsters a run for their money. I’d like to see more of him one day.
And so ended my Tripod Stage musical line-up. And what a joy it was. Here’s hoping we can do as well next year…
Get Cape. Wear Cape. Fly. by June Chanpoomidole.
Our Saturday starter was none other than Sam Duckworth of Get Cape. Wear Cape. Fly. who changed his stage time so that he could watch the ill-fated England match on Sunday. Those Climate Campers who knew him were suitably excited and soon stood on the corner of the Craft Field with the megaphone. It’s amazing what a big name does… the festival goers were soon flooding into our small area, page slightly disbelieving that our wee stage could be hosting such a well known musician.
Meanwhile I stood slightly panicked on the entrance as the minutes slowly ticked by… and then Sam came ambling down the leafy rise, slightly late having come straight from taking part in a debate about the rise of the BNP at the Leftfield Stage. A more mild mannered and charming young man you would be hard to come by, but Sam’s grasp of how important it is to speak out against the ills of this world is admirable. Without undue ceremony he was soon aboard the Tripod Stage, holding a borrowed acoustic guitar. “Can you all hear me? I’ve got a big voice so I can sing louder!”
Sunglassed against the blazing heat Sam sung new songs from his upcoming album alongside old crowd pleasers such as One More With Feeling. Unbidden he spoke with passion of meeting a Bangladeshi woman who had lost her family as a direct result of the effects of climate change, and how important it is to stand up to the big corporations. A truly special young man who has been off my radar for awhile, I now remember why I featured Get Cape. Wear Cape. Fly. in Amelia’s Magazine all those years ago. What a star. Sam’s new single Collapsing Cities is out in August, followed by a 22 date tour in September and October.
Next up we had Kyla La Grange, a beautiful girl with a stunning voice (does it matter that she was beautiful? It shouldn’t, but she really was, what can I say? And talented…) She arrived without fanfare and I found her practicing behind our van on the same acoustic guitar that Sam had borrowed.
This was the first time in awhile that the husky voiced Kyla had played her songs without added production but she’s an accomplished songwriter and songs like the catchy single Vampire Smile worked just as well without backing. Definitely a talent to watch: her debut album is currently in production.
Kyla’s favourite bits of Glastonbury: Arcadia was absolutely brilliant but as far as performances go it was a tie between Laura Marling and Florence and the Machine. They were both faultless.
Patch William were another band we shared with the BBC Introducing stage (or should that be the other way around). They arrived complete with their own recording facilities, although I will hopefully attempt to cobble together some of the footage I shot myself (oh Final Cut Pro, how I yearn to learn your charms).
Fronted by William and his god sister Ali, Patch William braved the blazing heat dressed as if they had just stepped out of a fairytale, all flowing hair, wide trousers and Ali crowned in a flower garland so beloved of festival goers this year. Their melodic harmonies were perfect for a lazy summer day such as this, and culminated in the Ivor Novello nominated The Last Bus, a stunning song that saw Ali nimbly swap from guitar to cello. Just gorgeous.
Patch William liked playing the Tripod Stage because: It was great to be able to play a set which was powered solely by a solar panel! Patch William’s favourite bits of Glastonbury: Discovering a naked mermaid at Shangri La and being able to say ‘hello glastonbury’ during our set (something which we’d only dreamed of before).
Patch William play the Firefly Music Festival and Belladrum Festival in Scotland. Their next single release will be Skinny White Boy and they plan to go on tour in September. Watch their set at BBC Introducing here.
Then we were supposed to host The Federals, but unfortunately some misunderstood information meant that they hadn’t come prepared for our particular stage set up and all I got was this picture.
Oh well! You win some you lose some: they seemed like nice lads, and went on to play, yes, you’ve guessed it, the BBC Introducing stage. Instead we had a bit of a gap before an exclusive secret set from the wonderful Robin Ince… who turned up a good hour early so we all sat around having a cup of tea and a chinwag.
Robin was determined to perform his set back to front, so I would be introducing him after he’d finished, and Danny Chivers could come on as a warm up act at the end. This meant that Robin also started sat on the floor with his back to the audience. To another disbelieving crowd – “Yes, we really do have Robin Ince performing here in a minute” – Robin gave a brilliant performance that touched on themes of favourite suicides, the use of jazz hands in the popularisation of science and banality in politics.
I’ve uploaded part of his performance for your delection here:
At the end he called on me to come up and introduce him, but then carried on heckling me from the floor. Can anyone tell me, did he do his gig in the Comedy Tent during the England match on Sunday dressed as an octopus? Muchos love going out to you Robin.
Last but by no means least the Tripod Stage was delighted to host Dry the River, a folk band from East London attired in vaguely matched check shirts. Accompanied by guitar, bass, violin, glockenspiel and snare drum, Dry the River sing of history, culture, religion – often in gorgeous four part falsetto boy harmonies. Lead singer Peter Liddle studied anthropology and is now en route to become a doctor; a background that clearly informs his unusual lyrics. If there is any sense in this world Dry the River will be a major success: in fact if I were the betting kind I would lay the notes down hand over fist for this unsigned band. Really really brilliant, I feel so blessed to have found them.
I asked bearded bassist Scott to answer a few questions:
Scott’s feelings on the Tripod Stage gig: The Climate Camp Tripod Stage was awesome! We played as the sunshine beamed down on our faces, and the people around were so laid back and friendly. Plus we all got a cup of tea while we played which was like a dream after two days of camping. We even got a chance to road-test a new tune we’ve been working on because of the relaxed atmosphere of the show, and it went down well!
Scott’s favourite part of Glastonbury: It’s tough to pick a ‘best bit’ for the whole weekend but for me heading out to get lost in the maze of Shangri La at night was amazing, and bumping into Neville Staple backstage in the Dance Arena was pretty cool. Obviously the gigs we were able to play while we were there all stand out too, the Climate Camp for the friendly hospitable people there, the Crow’s Nest for the amazing view of the whole festival at sunset and of course the BBC Introducing set was just so exciting with the cameras and everything.
Make sure you catch up with Dry the River live – they’re playing Standon Calling, the Big Chill and Underground Festival in Gloucester. You can download a FREE 3 track EP from their myspace which includes an unreleased version of Coast, a never before heard track recorded earlier this summer. Dry the River headline the Lexington on September 30th and you can buy tickets here. In the meantime see them on BBC Introducing here.
What is the impact on our relationship with the environment – when existing in a world where sensor monitors constantly interpret our daily surroundings, producing endless streams of data? Are we moving into the final phrase of Walter Benjamin’s The Work of Art in the Age of Mechanical Reproduction?
Photograph by Ludwig Zeller
The Weather Camera is Kjen Wilkens response to her search for a human presence within this deluge of electronic readings. Instead of taking a photograph to a record a special moment, the user of The Weather Camera can record the atmospheric conditions, weaving these into autobiographical memory. In time encouraging new methods of narration, titled by the designer as “Sensor Poetics.”
Becky Pilditch‘s prothestics are “objects of empowerment”, showcasing how functional pieces of designs can be both a thing of beauty and an extension of the wearer’s personality. Becky worked and developed the project with Holly Franklin .
Hand 8 the final part of the project, played with ideas of gesture and personality by creating numerous arms that related to Holly’s actions as she spoke or moved around a space. A fantastic aspect of the website is the blog, which can be used by other prosthetic limb users to feed back directly to the project.
In the Animation section of the exhibition Lauri Warsta’s Traumdeutung awaited. A wonderful animation baring the hallmarks (whatever that may mean…) of a “documentary,” the calming, not too dissimilar to the 1940′s DONT PANIC! voiceover narrated the data currently available on the subject matter: The Global Reserves of Dreams. The beauty of the animation, being it contained the possibility, that it was entirely a dream.
The subtle block coloring of the animation maintained a ‘warmth’ more accustomed with hand drawn animation, that can sometimes be lost in 3D animation. This is an outcome of Warsta’s experiments in combining; “two extremes (3D and Handmade) clash and merge. For example, bringing the uncontrollable movement of real hand-held footage to an otherwise sterile computer animation”
Adnan Lalani‘s experiment with augmented reality catches the attention, through being something the viewer can interact with. The action of turning the Pop Up Book’s pages is suplimented by additional narration appearing on the screen placed directly behind the book and inline with the viewers eye.
Below is a video documenting the Pop Up Book’s Prototype. Earlier this week Adnan kindly took a few moments to explain the idea behind combining the narrative structure of a Pop Up Book with Augmented reality: “The pop-up book felt like a natural compliment to augmented reality. I was hoping to see how AR could be used in a more tactile, playful context… i.e. take something we already know and play with, and allow it to be enhanced with animation and digital interactivity.”
Eventually Adnan hopes that as we grow increasingly comfortable with the idea of Augmented Reality, ideas like the Pop Up book ” can allow a progression from the magical, novelty nature of AR, into more of a direct tool by which to communicate narratives and story telling”
The eye catching work of Design Interaction Graduate Louise O’Conner; used experimental dance to convey the movement of the smallest particles, for example: Atoms, in an attempt to connect us to movements that are beyond our physical awareness. Visit the exhibition to watch the film!
A particular lovely idea was the mapping out to scale, the measurements of the solar system along Kingsland High Street and up into Stamford Hill. Several shopkeepers were to host a planet…
Photography by Mark Henderson
You can find the map and information about the project here:
Katrin Baumgarten’s Aesthetics of Disgust explores humans’ relationship and our reactions; both emotional and physical to the things or materials which disgust us. Using inanimate objects all too often taken for granted, (i.e. Light Switches) Kartin added disturbing features such as goo or hair that moved as the light switch is pressed. By ‘touching’ us back, the presence of these inanimate objects is brought back to the forefront of our attention.
In the installation at the Royal College of Art a screen documents the level of the reaction of each user.
Another subject explored by Katrina is Intimate touch or sexual disgust and how these feelings can be created “merely by inappropriate behaviours in society, such as touching another person in an intimate or sexual way in public, even though that might comfort the two persons involved and is a part of our human nature.” The outcome of which is the Intimate Touch Object, an item which enables you to touch another person secretly…
FINALLY on my second trip (yes second, it’s that big and really worth the time) I came across the brilliant work of Sivaprakash Shanmugam’s Expressive Scribble. Children draw onto the projector screen (this could be the kitchen floor, wall etc…) and an bring their drawings to life by clicking the ‘movie’ button. The idea being to “enrich their visual vocabulary,” sense of narrative and most importantly encourage children’s creativity.
Part two of the RCA show continues until 4th July 2010. It’s open from 11-8 daily at the Royal College of Art, Kensington Gore, London SW7 2EU. Admission is free.
Images Courtesy of the Students and addition photographs by Sally Mumby-Croft
At the start of June I went on an exciting adventure to Ireland… on a borrowed bike from Velorution. It was a trip I’ve looked forward to for a long time because it combined two of my favourite things in the world. Or maybe three: Cycling (I love cycling A LOT), activism (we had a purpose) and being in lovely places with lovely people.
The Merthyr to Mayo bike ride was organised by a loose group of activists based around the country and included members of Bicycology, a cyclists’ collective who aim “to promote cycling and make links with wider issues of environmental and social responsibility”. This intrepid group of riders set off from the open cast coal mine at Merthyr Tydfil in Wales, armed only with an explanatory newspaper and lots of verve. The solidarity ride ended at Rossport in County Mayo, Ireland, thereby linking two communities who are resisting fossil fuel extraction, and educating other communities along the way.
Mini ceilidh en route in Wales.
An added bonus of this trip was the opportunity to play with my ceilidh band Green Kite Midnight, since providing music for people to dance to at protests is the very reason for our existence. Luckily our banjo player Dom has bought a big ambulance which he has lovingly converted into a tour bus for the band – and thus we set off for Ireland via Wales, stopping to spend the night at the parental house of our bassist Tim, way up in the secluded Welsh mountains. It was then onward to Holyhead, where we caught the ferry over to Dublin and carried straight onto Galway to meet the rest of the crew, who were hastily organising a demo against the atrocities against the flotilla bound for Gaza.
We marched straight into the local branch of M&S (to draw attention to the chain’s affiliation with the development of the Israeli state) much to the bemusement of Irish security guards, clearly not used to such confident behaviour. We then joined a gathering in the street organised by locals, but were eventually rained into the closest pub and from there we retired early to a friendly local’s house, quickly to sleep in preparation for our 90km ride the next day.
Awaiting news in the pub… many people knew activists on the flotilla.
We had been warned that Irish roads are quite dangerous and on our first day I did feel a little less than wholly safe, stuck on a narrow hard shoulder as – head down, legs pumping – we powered through the countryside with little more than a brief break for lunch in a small town.
The main thing I noticed about rural Ireland is the predominance of ugly newbuild housing estates. Boy do the Irish like to build some shoddy housing! The more upmarket modern houses favour the architecture of American TV series such as Dallas from the 80s – amusing for their kitsch value if nothing else – but at the bottom end of the spectrum the Barrett home style identikit boxes are nothing short of a blot on the landscape.
Endless housing estates.
Like many other economies the Irish housing boom was completely unsustainable, and speculative construction has given way to half-finished housing estates fronted by signs that looked spangly a few years ago, now peeling and faded.
Okay, so I was a bit worried about the length of our first day’s ride with no preliminary warm up – but I needn’t have been. With nothing but a vista of endless stone walls, housing estates and crumbling barns (the Irish prefer new builds to renovations, apparently) to distract us from our mission, our little affinity group was one of the first to arrive at our final destination – the Lidl carpark at Castlerea. Being rather fast and meeting at Lidl – these were both to become a bit of a theme…
Once everyone had arrived at we we were herded up the longest steepest hill I’ve ever tackled with such a heavy load… and this after a long hard day too. I stayed on my bike to the very top but boy was I glad that I hadn’t brought my Pashley – it never would have made it.
At the top our destination was a gorgeous stretch of land bordered by woods, owned by some friendly Pagans who greeted us with lentil stew brewed for us in a cauldron over the fire surrounded by medieval-style tents. Our two nights spent on the hill top were characterised by excessive amounts of midges and late night music sessions. The intervening day was spent at Castlerea Prison, which you can read about in my next blog here.
Written by Amelia Gregory on Friday July 2nd, 2010 7:55 pm
GKM Roadtrip Galway to Castlerea
My touring bike, more about kindly lent by Velorution.
At the start of June I went on an exciting adventure to Ireland… on a borrowed bike from Velorution. It was a trip I’ve looked forward to for a long time because it combined two of my favourite things in the world. Or maybe three: Cycling (I love cycling A LOT), cost activism (we had a purpose) and being in lovely places with lovely people.
The Merthyr to Mayo bike ride was organised by a loose group of activists based around the country and included members of Bicycology, a cyclists’ collective who aim “to promote cycling and make links with wider issues of environmental and social responsibility”. This intrepid group of riders set off from the open cast coal mine at Merthyr Tydfil in Wales, armed only with an explanatory newspaper and lots of verve. The solidarity ride ended at Rossport in County Mayo, Ireland, thereby linking two communities who are resisting fossil fuel extraction, and educating other communities along the way.
Mini ceilidh en route in Wales.
An added bonus of this trip was the opportunity to play with my ceilidh band Green Kite Midnight, since providing music for people to dance to at protests is the very reason for our existence. Luckily our banjo player Dom has bought a big ambulance which he has lovingly converted into a tour bus for the band – and thus we set off for Ireland via Wales, stopping to spend the night at the parental house of our bassist Tim, way up in the secluded Welsh mountains. It was then onward to Holyhead, where we caught the ferry over to Dublin and carried straight onto Galway to meet the rest of the crew, who were hastily organising a demo against the atrocities against the flotilla bound for Gaza.
We marched straight into the local branch of M&S (to draw attention to the chain’s affiliation with the development of the Israeli state) much to the bemusement of Irish security guards, clearly not used to such confident behaviour. We then joined a gathering in the street organised by locals, but were eventually rained into the closest pub and from there we retired early to a friendly local’s house, quickly to sleep in preparation for our 90km ride the next day.
Awaiting news in the pub… many people knew activists on the flotilla.
We had been warned that Irish roads are quite dangerous and on our first day I did feel a little less than wholly safe, stuck on a narrow hard shoulder as – head down, legs pumping – we powered through the countryside with little more than a brief break for lunch in a small town.
The main thing I noticed about rural Ireland is the predominance of ugly newbuild housing estates. Boy do the Irish like to build some shoddy housing! The more upmarket modern houses favour the architecture of American TV series such as Dallas from the 80s – amusing for their kitsch value if nothing else – but at the bottom end of the spectrum the Barrett home style identikit boxes are nothing short of a blot on the landscape.
Endless housing estates.
Like many other economies the Irish housing boom was completely unsustainable, and speculative construction has given way to half-finished housing estates fronted by signs that looked spangly a few years ago, now peeling and faded.
Okay, so I was a bit worried about the length of our first day’s ride with no preliminary warm up – but I needn’t have been. With nothing but a vista of endless stone walls, housing estates and crumbling barns (the Irish prefer new builds to renovations, apparently) to distract us from our mission, our little affinity group was one of the first to arrive at our final destination – the Lidl carpark at Castlerea. Being rather fast, and meeting at Lidl were both to become a bit of a theme…
Once everyone had arrived at we we were herded up the longest steepest hill I’ve ever tackled with such a heavy load… and this after a long hard day too. I stayed on my bike to the very top but boy was I glad that I hadn’t brought my Pashley – it never would have made it.
At the top our destination was a gorgeous stretch of land bordered by woods, owned by some friendly Pagans who greeted us with lentil stew brewed for us in a cauldron over the fire surrounded by medieval-style tents. Our two nights spent on the hill top were characterised by excessive amounts of midges and late night music sessions. The intervening day was spent at Castlerea Prison, which you can read about in my next blog.
At the start of June I went on an exciting adventure to Ireland… on a borrowed bike from Velorution. It was a trip I’ve looked forward to for a long time because it combined two of my favourite things in the world. Or maybe three: Cycling (I love cycling A LOT), approved activism (we had a purpose) and being in lovely places with lovely people.
The Merthyr to Mayo bike ride was organised by a loose group of activists based around the country and included members of Bicycology, link a cyclists’ collective who aim “to promote cycling and make links with wider issues of environmental and social responsibility”. This intrepid group of riders set off from the open cast coal mine at Merthyr Tydfil in Wales, armed only with an explanatory newspaper and lots of verve. The solidarity ride ended at Rossport in County Mayo, Ireland, thereby linking two communities who are resisting fossil fuel extraction, and educating other communities along the way.
Mini ceilidh en route in Wales.
An added bonus of this trip was the opportunity to play with my ceilidh band Green Kite Midnight, since providing music for people to dance to at protests is the very reason for our existence. Luckily our banjo player Dom has bought a big ambulance which he has lovingly converted into a tour bus for the band – and thus we set off for Ireland via Wales, stopping to spend the night at the parental house of our bassist Tim, way up in the secluded Welsh mountains. It was then onward to Holyhead, where we caught the ferry over to Dublin and carried straight onto Galway to meet the rest of the crew, who were hastily organising a demo against the atrocities against the flotilla bound for Gaza.
We marched straight into the local branch of M&S (to draw attention to the chain’s affiliation with the development of the Israeli state) much to the bemusement of Irish security guards, clearly not used to such confident behaviour. We then joined a gathering in the street organised by locals, but were eventually rained into the closest pub and from there we retired early to a friendly local’s house, quickly to sleep in preparation for our 90km ride the next day.
Awaiting news in the pub… many people knew activists on the flotilla.
We had been warned that Irish roads are quite dangerous and on our first day I did feel a little less than wholly safe, stuck on a narrow hard shoulder as – head down, legs pumping – we powered through the countryside with little more than a brief break for lunch in a small town.
The main thing I noticed about rural Ireland is the predominance of ugly newbuild housing estates. Boy do the Irish like to build some shoddy housing! The more upmarket modern houses favour the architecture of American TV series such as Dallas from the 80s – amusing for their kitsch value if nothing else – but at the bottom end of the spectrum the Barrett home style identikit boxes are nothing short of a blot on the landscape.
Endless housing estates.
Like many other economies the Irish housing boom was completely unsustainable, and speculative construction has given way to half-finished housing estates fronted by signs that looked spangly a few years ago, now peeling and faded.
Okay, so I was a bit worried about the length of our first day’s ride with no preliminary warm up – but I needn’t have been. With nothing but a vista of endless stone walls, housing estates and crumbling barns (the Irish prefer new builds to renovations, apparently) to distract us from our mission, our little affinity group was one of the first to arrive at our final destination – the Lidl carpark at Castlerea. Being rather fast and meeting at Lidl – these were both to become a bit of a theme…
Once everyone had arrived at we we were herded up the longest steepest hill I’ve ever tackled with such a heavy load… and this after a long hard day too. I stayed on my bike to the very top but boy was I glad that I hadn’t brought my Pashley – it never would have made it.
At the top our destination was a gorgeous stretch of land bordered by woods, owned by some friendly Pagans who greeted us with lentil stew brewed for us in a cauldron over the fire surrounded by medieval-style tents. Our two nights spent on the hill top were characterised by excessive amounts of midges and late night music sessions. The intervening day was spent at Castlerea Prison, which you can read about in my next blog.
At the start of June I went on an exciting adventure to Ireland… on a borrowed bike from Velorution. It was a trip I’ve looked forward to for a long time because it combined two of my favourite things in the world. Or maybe three: Cycling (I love cycling A LOT), hospital activism (we had a purpose) and being in lovely places with lovely people.
The Merthyr to Mayo bike ride was organised by a loose group of activists based around the country and included members of Bicycology, a cyclists’ collective who aim “to promote cycling and make links with wider issues of environmental and social responsibility”. This intrepid group of riders set off from the open cast coal mine at Merthyr Tydfil in Wales, armed only with an explanatory newspaper and lots of verve. The solidarity ride ended at Rossport in County Mayo, Ireland, thereby linking two communities who are resisting fossil fuel extraction, and educating other communities along the way.
Mini ceilidh en route in Wales.
An added bonus of this trip was the opportunity to play with my ceilidh band Green Kite Midnight, since providing music for people to dance to at protests is the very reason for our existence. Luckily our banjo player Dom has bought a big ambulance which he has lovingly converted into a tour bus for the band – and thus we set off for Ireland via Wales, stopping to spend the night at the parental house of our bassist Tim, way up in the secluded Welsh mountains. It was then onward to Holyhead, where we caught the ferry over to Dublin and carried straight onto Galway to meet the rest of the crew, who were hastily organising a demo against the atrocities against the flotilla bound for Gaza.
We marched straight into the local branch of M&S (to draw attention to the chain’s affiliation with the development of the Israeli state) much to the bemusement of Irish security guards, clearly not used to such confident behaviour. We then joined a gathering in the street organised by locals, but were eventually rained into the closest pub and from there we retired early to a friendly local’s house, quickly to sleep in preparation for our 90km ride the next day.
Awaiting news in the pub… many people knew activists on the flotilla.
We had been warned that Irish roads are quite dangerous and on our first day I did feel a little less than wholly safe, stuck on a narrow hard shoulder as – head down, legs pumping – we powered through the countryside with little more than a brief break for lunch in a small town.
The main thing I noticed about rural Ireland is the predominance of ugly newbuild housing estates. Boy do the Irish like to build some shoddy housing! The more upmarket modern houses favour the architecture of American TV series such as Dallas from the 80s – amusing for their kitsch value if nothing else – but at the bottom end of the spectrum the Barrett home style identikit boxes are nothing short of a blot on the landscape.
Endless housing estates.
Like many other economies the Irish housing boom was completely unsustainable, and speculative construction has given way to half-finished housing estates fronted by signs that looked spangly a few years ago, now peeling and faded.
Okay, so I was a bit worried about the length of our first day’s ride with no preliminary warm up – but I needn’t have been. With nothing but a vista of endless stone walls, housing estates and crumbling barns (the Irish prefer new builds to renovations, apparently) to distract us from our mission, our little affinity group was one of the first to arrive at our final destination – the Lidl carpark at Castlerea. Being rather fast and meeting at Lidl – these were both to become a bit of a theme…
Once everyone had arrived at we we were herded up the longest steepest hill I’ve ever tackled with such a heavy load… and this after a long hard day too. I stayed on my bike to the very top but boy was I glad that I hadn’t brought my Pashley – it never would have made it.
At the top our destination was a gorgeous stretch of land bordered by woods, owned by some friendly Pagans who greeted us with lentil stew brewed for us in a cauldron over the fire surrounded by medieval-style tents. Our two nights spent on the hill top were characterised by excessive amounts of midges and late night music sessions. The intervening day was spent at Castlerea Prison, which you can read about in my next blog.
At the start of June I went on an exciting adventure to Ireland… on a borrowed bike from Velorution. It was a trip I’ve looked forward to for a long time because it combined two of my favourite things in the world. Or maybe three: Cycling (I love cycling A LOT), sick activism (we had a purpose) and being in lovely places with lovely people.
The Merthyr to Mayo bike ride was organised by a loose group of activists based around the country and included members of Bicycology, order a cyclists’ collective who aim “to promote cycling and make links with wider issues of environmental and social responsibility”. This intrepid group of riders set off from the open cast coal mine at Merthyr Tydfil in Wales, armed only with an explanatory newspaper and lots of verve. The solidarity ride ended at Rossport in County Mayo, Ireland, thereby linking two communities who are resisting fossil fuel extraction, and educating other communities along the way.
Mini ceilidh en route in Wales.
An added bonus of this trip was the opportunity to play with my ceilidh band Green Kite Midnight, since providing music for people to dance to at protests is the very reason for our existence. Luckily our banjo player Dom has bought a big ambulance which he has lovingly converted into a tour bus for the band – and thus we set off for Ireland via Wales, stopping to spend the night at the parental house of our bassist Tim, way up in the secluded Welsh mountains. It was then onward to Holyhead, where we caught the ferry over to Dublin and carried straight onto Galway to meet the rest of the crew, who were hastily organising a demo against the atrocities against the flotilla bound for Gaza.
We marched straight into the local branch of M&S (to draw attention to the chain’s affiliation with the development of the Israeli state) much to the bemusement of Irish security guards, clearly not used to such confident behaviour. We then joined a gathering in the street organised by locals, but were eventually rained into the closest pub and from there we retired early to a friendly local’s house, quickly to sleep in preparation for our 90km ride the next day.
Awaiting news in the pub… many people knew activists on the flotilla.
We had been warned that Irish roads are quite dangerous and on our first day I did feel a little less than wholly safe, stuck on a narrow hard shoulder as – head down, legs pumping – we powered through the countryside with little more than a brief break for lunch in a small town.
The main thing I noticed about rural Ireland is the predominance of ugly newbuild housing estates. Boy do the Irish like to build some shoddy housing! The more upmarket modern houses favour the architecture of American TV series such as Dallas from the 80s – amusing for their kitsch value if nothing else – but at the bottom end of the spectrum the Barrett home style identikit boxes are nothing short of a blot on the landscape.
Endless housing estates.
Like many other economies the Irish housing boom was completely unsustainable, and speculative construction has given way to half-finished housing estates fronted by signs that looked spangly a few years ago, now peeling and faded.
Okay, so I was a bit worried about the length of our first day’s ride with no preliminary warm up – but I needn’t have been. With nothing but a vista of endless stone walls, housing estates and crumbling barns (the Irish prefer new builds to renovations, apparently) to distract us from our mission, our little affinity group was one of the first to arrive at our final destination – the Lidl carpark at Castlerea. Being rather fast and meeting at Lidl – these were both to become a bit of a theme…
Once everyone had arrived at we we were herded up the longest steepest hill I’ve ever tackled with such a heavy load… and this after a long hard day too. I stayed on my bike to the very top but boy was I glad that I hadn’t brought my Pashley – it never would have made it.
At the top our destination was a gorgeous stretch of land bordered by woods, owned by some friendly Pagans who greeted us with lentil stew brewed for us in a cauldron over the fire surrounded by medieval-style tents. Our two nights spent on the hill top were characterised by excessive amounts of midges and late night music sessions. The intervening day was spent at Castlerea Prison, which you can read about in my next blog.
For the past 10 years the local community in Rossport, drug County Mayo, nurse have been campaigning against plans to pipe raw untreated gas from an offshore well in the Corrib Gas Field through the beautiful unspoilt countryside to a refinery 9km inland. The pipeline will be the first of it’s kind in the world and despite assurances that nothing could go wrong the canny residents quickly smelled a rat. Refinery tailings have already poisoned Carrowmore Lake which supplies water to 10,000 people on the Erris peninsula, and many houses are situated in the “kill zone” – Shell consultants have conceded that those living within 200 metres of the pipeline “could burn spontaneously from heat radiation” in the event of an explosion from the highly flammable untreated gas. The current preferred route for the pipe takes it across a highly unstable bog. Hmmm, sounds very safe to me.
On top of this, the rights to profit from Irish resources were quietly signed away by the Irish government during the 80s and 90s (to the extent that extracting companies now have to pay less than 8% tax when compared with 50% in the UK and 78% in Norway), but despite this the Irish government has acted in complicity with Big Oil by placing compulsory purchase orders on furious local farmers. Quite apart from the human rights atrocities that are being inflicted on a daily basis against the residents of Rossport there is the need to preserve sites of spectacular beauty and of course lobby to leave fossil fuels in the ground in order to avert catastrophic climate change.
This is the backdrop against which locals and activists are campaigning against Shell in Rossport. Because of their actions two activists are currently imprisoned and it was in support of them that we went to Castlerea Prison.
Practicing our chants.
On numerous occasions local fisherman Pat O’Donnell has stood up to bullying by Shell despite numerous recorded assaults by the Gardai (Irish police) Last summer his fishing boat was boarded by masked men who held him at gunpoint and then sunk his boat.
Niall Harnett I know better – he’s a gentle giant of a man that I met at the Earth First gathering last year and I can’t imagine him harming a flea. He was sentenced earlier this year for alleged assault, an outcome that highlights the failings of the Irish judicial system, currently upholding the use of excessive force against ordinary citizens to appease the might of corporations.
For more on either of these cases I recommend that you read about Niall here and Pat here, but the main point is that we were at Casterea Prison as part of a prolonged campaign in support of these brave men, who have dared to stand up to the might of a multinational oil company.
Cycling en masse through the town we arrived to find the cheery faces of local supporters awaiting our arrival at the gates. A short cycle ride later through sun dappled fields of horses, and we were settled down for the sounds of a traditional band, who were soon joined by various musicians from the bike ride.
Lunch.
They can hear us!
The finale was a Green Kite Midnight ceilidh, against a backdrop of high concrete prison walls on which we had daubed some messages of solidarity in chalk. It was absolutely sweltering so thereafter I had to retire to a cool pub, but others continued and held a small dance in the local Topaz garage – in Ireland Shell has received so much bad press that all petrol stations have been renamed Topaz. This had led to the immortal phrase Topaz My Arse amongst the activists we were travelling with.
Pedals.
Pub.
From Castlerea we took an extremely picturesque trip to Ballina the next day: some of us swum in a lovely lake, and we all clambered up an old castle we found along the way. I wish it had been easier to take photos as we rode because the Catholic roadside shrines are great, and I particularly love the way that all the signs are plonked on top of each other all higgledy-piggledy – never mind that you may not be able to read the ones beneath.
Ballina is the nearest big town to Rossport so many people there are involved with and support the struggle against Shell. We put our tents up in the back garden of a big house and were completely spoilt for dinner.
The next day our final leg began with a quick critical mass around Ballina, joyfully dinging our bells to the sounds of Madonna and co, as played by Pedals, the Bicycology sound system that is present at so many of our direct actions as amplification for my voice and the instruments in Green Kite Midnight. We even had time to briefly blockade a Topaz tanker on the way.
“I don’t give a shit about Rossport.” That is literally what this man said.
Yoga on the top of a coastal bluff at lunchtime was followed by the hardest part of the ride – struggling into the wind past multicoloured sheep across a long long moor. At the end we were again greeted by hot tea and huge amounts of home-cooked food, courtesy of the friendly locals. By this point I was starting to wonder if we deserved so much goodwill.
From then on it was but a quick pedal over to the half built refinery site, a testament to the power of Shell. The pipeline to feed the refinery is in no way ready to be built, let alone operate! After a bunch of rallying speeches we freewheeled most of the way down to the location of this year’s Rossport Summer Gathering.
I’ve heard a lot about how gorgeous Rossport is but nothing could have prepared me for the view that greeted us as we struggled up one last steep rise…. No wonder everyone who comes here falls in love – it’s a beautiful wild place on the edge of the world.
Nothing between Glengad Beach and America. We erected our tents against a backdrop of billowing sand dunes humming with clattering biting (as I was later to discover) bugs and bird calls I have never heard before. Places like these desperately need our protection and I challenge anyone to visit Rossport and come away unmoved by the sheer beauty of the natural world. That evening we partied with the locals in the pub despite being half-asleep with exhaustion.
There are donkeys everywhere!
More about the Rossport Gathering in my next blog post.
Written by Amelia Gregory on Friday July 2nd, 2010 9:59 pm
Way back in 2007, shop Amelia’s Magazine was one of the first to recognise the raw talent of a young Johnny Flynn, decease who won us over with the delicately nuanced themes in his poetic and lyrical songwriting. (The fact that he could wield a Gibson guitar like nobodies business also helped make him alright in our books). Fast forward to today and it’s safe to say that the kid done good. Supporting Mumford & Sons in their upcoming October tour, performing at summer festivals all over the country (including this weekends Cambridge Folk Festival) and collaborating with Laura Marling and Anna Calvi, Johnny has more than established himself in the British folk canon. But Johnny is no one trick pony; his new album Been Listening shows a strong appreciation of musical diversity, and gives respectful nods to early 20th Century blues, African music, and even takes inspiration from Herman Hesse’s Siddhartha. His creative streak runs deep, and the animated video for his new single, Barnacled Warship (released August 16th) is a dark dystopia directed by Christian DeVita, lead storyboard artist on Wes Anderson’s ‘Fantastic Mr Fox’ as well as Tim Burton’s forthcoming ‘Frankenweenie’.
So, as you can imagine, we felt that a catch-up with Johnny was long overdue, and so when we were approached by his team to do a video interview, it was only a matter of fighting over which contributor was the biggest fan (the honour went to the lovely Chloe) and then we were ready to go!
Watch the feature for Barnacled Warship here:
Way back in 2007, sale Amelia’s Magazine was one of the first to recognise the raw talent of a young Johnny Flynn, sales who won us over with the delicately nuanced themes in his poetic and lyrical songwriting. (The fact that he could wield a Gibson guitar like nobodies business also helped make him alright in our books). Fast forward to today and it’s safe to say that the kid done good. Supporting Mumford & Sons in their upcoming October tour, erectile performing at summer festivals all over the country (including this weekends Cambridge Folk Festival) and collaborating with Laura Marling and Anna Calvi, Johnny has more than established himself in the British folk canon. But Johnny is no one trick pony; his new album Been Listening shows a strong appreciation of musical diversity, and gives respectful nods to early 20th Century blues, African music, and even takes inspiration from Herman Hesse’s Siddhartha. His creative streak runs deep, and the animated video for his new single, Barnacled Warship (released August 16th) is a dark dystopia directed by Christian DeVita, lead storyboard artist on Wes Anderson’s ‘Fantastic Mr Fox’ as well as Tim Burton’s forthcoming ‘Frankenweenie’.
So, as you can imagine, we felt that a catch-up with Johnny was long overdue, and so when we were approached by his team to do a video interview, it was only a matter of fighting over which contributor was the biggest fan (the honour went to the lovely Chloe) and then we were ready to go!
Watch the feature for Barnacled Warship here:
Way back in 2007, for sale Amelia’s Magazine was one of the first to recognise the raw talent of a young Johnny Flynn, search who won us over with the delicately nuanced themes in his poetic and lyrical songwriting. (The fact that he could wield a Gibson guitar like nobodies business also helped make him alright in our books). Fast forward to today and it’s safe to say that the kid done good. Supporting Mumford & Sons in their upcoming October tour, site performing at summer festivals all over the country (including this weekends Cambridge Folk Festival) and collaborating with Laura Marling and Anna Calvi, Johnny has more than established himself in the British folk canon. But Johnny is no one trick pony; his new album Been Listening shows a strong appreciation of musical diversity, and gives respectful nods to early 20th Century blues, African music, and even takes inspiration from Herman Hesse’s Siddhartha. His creative streak runs deep, and the animated video for his new single, Barnacled Warship (released August 16th) is a dark dystopia directed by Christian DeVita, lead storyboard artist on Wes Anderson’s ‘Fantastic Mr Fox’ as well as Tim Burton’s forthcoming ‘Frankenweenie’.
So, as you can imagine, we felt that a catch-up with Johnny was long overdue, and so when we were approached by his team to do a video interview, it was only a matter of fighting over which contributor was the biggest fan (the honour went to the lovely Chloe) and then we were ready to go!
Watch the feature for Barnacled Warship here:
Go to Johnny’s MySpace and website for lots more, including his newly released tour dates.
Way back in 2007, ed Amelia’s Magazine was one of the first to recognise the raw talent of a young Johnny Flynn, who won us over with the delicately nuanced themes in his poetic and lyrical songwriting. (The fact that he could wield a Gibson guitar like nobodies business also helped make him alright in our books). Fast forward to today and it’s safe to say that the kid done good. Supporting Mumford & Sons in their upcoming October tour, performing at summer festivals all over the country (including this weekends Cambridge Folk Festival) and collaborating with Laura Marling and Anna Calvi, Johnny has more than established himself in the British folk canon. But Johnny is no one trick pony; his new album Been Listening shows a strong appreciation of musical diversity, and gives respectful nods to early 20th Century blues, African music, and even takes inspiration from Herman Hesse’s Siddhartha. His creative streak runs deep, and the animated video for his new single, Barnacled Warship (released August 16th) is a dark dystopia directed by Christian DeVita, lead storyboard artist on Wes Anderson’s ‘Fantastic Mr Fox’ as well as Tim Burton’s forthcoming ‘Frankenweenie’.
So, as you can imagine, we felt that a catch-up with Johnny was long overdue, and so when we were approached by his team to do a video interview, it was only a matter of fighting over which contributor was the biggest fan (the honour went to the lovely Chloe) and then we were ready to go!
Watch the feature for Barnacled Warship here:
Go to Johnny’s MySpace and website for lots more, including his newly released tour dates.
All photography by Amelia Gregory.
You may remember way back in the mists of time, this web well, viagra buy at the start of June at any rate, cialis 40mg that I went off on a solidarity bike ride to Rossport in County Mayo. I got the biking part written up but as is usual it’s taken me forever to get this last part together – but maybe that’s no bad thing because it means I can give you a much more up to date account of happenings over on Glengad Beach, Rossport in County Mayo, possibly one of the most beautiful places I’ve ever been.
My Saturday at Rossport Summer Gathering was spent in various workshops, hearing from locals who have struggled against the pipeline, talking about ways in which communities can be linked up, watching a gorgeous live animation about Grace O’Malley, the Pirate Queen of Mayo, playing football, ceilidh-ing into the sunset and possibly my highlight: hearing Niall Harnett (currently still incarcerated in prison – see my previous blog) speak live over the Pedals PA system from Castlerea.
On Sunday more workshops were followed by possibly the funniest, most surreal and enjoyable mass action ever. Gathering our spades we set off en masse with the locals to dig a hole on Glengad Beach where Shell’s oily pipeline has been illegally laid in an attempt to get a head start on planning permission. This was necessarily a bit of a fool’s mission since we didn’t really believe our merry gang would actually expose the pipe, even with the help of many burly hands.
Shell has hired private security to live above this remote beach 24/7 in order to intimidate anyone who makes a fuss, and if our intention was to freak out them out then our action could be considered a success. It took awhile, but after several hours of energetic digging and sand slinging a number of curiously stereotypical security staff finally appeared at the top of the rise, whereupon a group of us gleefully scrambled up to dance in front of their less than well hidden film cameras.
Eventually most people got bored and hungry enough to wander off in search of supper so we never did reach Australia, or even the pipe, which was presumably laid far deeper by machines than we could ever hope to reach. But it felt so so empowering and was certainly the most joyous action I’ve ever taken part in.
Since we were there for the June gathering the real work has started in earnest, as Shell sets out to drill 80 boreholes along the coastline to complete the survey for the pipeline. Because the estuary near Glengad Beach is part of the Broadhaven Bay Special Area of Conservation they will have to stop drilling when the Brent Geese arrive in October, but in the meantime the operation is damaging parts of the estuary and disturbing Atlantic salmon, otters and rare birds found on the intertidal areas.
The folks living at Rossport have therefore launched the Beat the Boreholes campaign calling for groups or individuals to come and stop a specific borehole this summer – by doing anything from holding a banner and walking out onto the sands, or getting in the way by kayaking out to and boarding the drilling rigs. The plan is to make progress so impossible that the surveys cannot be completed this year, thereby holding up the implementation of the pipeline and costing Shell even more money in the process.
The idea was inspired by the 365 day blockade at Faslane nuclear base in Scotland – a place I have also visited and helped to blockade way back in 2005 when I was at the G8 protests at Stirling.
Kayak training.
News just in: Only a few weeks ago a group of campaigners set out on kayaks and rafts to try and stop work on one of the drilling platforms. They were met by a group of Gardai (Irish police) and had their kayaks overturned. One of the activists attempted to swim under the platform and was manhandled aboard their boat even though he volunteered to leave the area. His throat was pinched to cut off the air supply as a Garda whispered in his ear “I have your last breath in my hands.” He later received medical treatment.
It looks so peaceful doesn’t it?
There has been continuous human rights abuse at Rossport, just one more reason why you should get along and help out – your presence will help whatever action you chose to take when you are there, so don’t feel that you have to get all the way into the water like some brave souls. It really is so important to keep the pressure on at flashpoints like Rossport, and Erris is a place you will fall in love with. Find out more information about going to Rossport here.
Written by Amelia Gregory on Friday July 30th, 2010 3:37 pm
Way back in 2007, shop Amelia’s Magazine was one of the first to recognise the raw talent of a young Johnny Flynn, decease who won us over with the delicately nuanced themes in his poetic and lyrical songwriting. (The fact that he could wield a Gibson guitar like nobodies business also helped make him alright in our books). Fast forward to today and it’s safe to say that the kid done good. Supporting Mumford & Sons in their upcoming October tour, performing at summer festivals all over the country (including this weekends Cambridge Folk Festival) and collaborating with Laura Marling and Anna Calvi, Johnny has more than established himself in the British folk canon. But Johnny is no one trick pony; his new album Been Listening shows a strong appreciation of musical diversity, and gives respectful nods to early 20th Century blues, African music, and even takes inspiration from Herman Hesse’s Siddhartha. His creative streak runs deep, and the animated video for his new single, Barnacled Warship (released August 16th) is a dark dystopia directed by Christian DeVita, lead storyboard artist on Wes Anderson’s ‘Fantastic Mr Fox’ as well as Tim Burton’s forthcoming ‘Frankenweenie’.
So, as you can imagine, we felt that a catch-up with Johnny was long overdue, and so when we were approached by his team to do a video interview, it was only a matter of fighting over which contributor was the biggest fan (the honour went to the lovely Chloe) and then we were ready to go!
Watch the feature for Barnacled Warship here:
Way back in 2007, sale Amelia’s Magazine was one of the first to recognise the raw talent of a young Johnny Flynn, sales who won us over with the delicately nuanced themes in his poetic and lyrical songwriting. (The fact that he could wield a Gibson guitar like nobodies business also helped make him alright in our books). Fast forward to today and it’s safe to say that the kid done good. Supporting Mumford & Sons in their upcoming October tour, erectile performing at summer festivals all over the country (including this weekends Cambridge Folk Festival) and collaborating with Laura Marling and Anna Calvi, Johnny has more than established himself in the British folk canon. But Johnny is no one trick pony; his new album Been Listening shows a strong appreciation of musical diversity, and gives respectful nods to early 20th Century blues, African music, and even takes inspiration from Herman Hesse’s Siddhartha. His creative streak runs deep, and the animated video for his new single, Barnacled Warship (released August 16th) is a dark dystopia directed by Christian DeVita, lead storyboard artist on Wes Anderson’s ‘Fantastic Mr Fox’ as well as Tim Burton’s forthcoming ‘Frankenweenie’.
So, as you can imagine, we felt that a catch-up with Johnny was long overdue, and so when we were approached by his team to do a video interview, it was only a matter of fighting over which contributor was the biggest fan (the honour went to the lovely Chloe) and then we were ready to go!
Watch the feature for Barnacled Warship here:
Way back in 2007, for sale Amelia’s Magazine was one of the first to recognise the raw talent of a young Johnny Flynn, search who won us over with the delicately nuanced themes in his poetic and lyrical songwriting. (The fact that he could wield a Gibson guitar like nobodies business also helped make him alright in our books). Fast forward to today and it’s safe to say that the kid done good. Supporting Mumford & Sons in their upcoming October tour, site performing at summer festivals all over the country (including this weekends Cambridge Folk Festival) and collaborating with Laura Marling and Anna Calvi, Johnny has more than established himself in the British folk canon. But Johnny is no one trick pony; his new album Been Listening shows a strong appreciation of musical diversity, and gives respectful nods to early 20th Century blues, African music, and even takes inspiration from Herman Hesse’s Siddhartha. His creative streak runs deep, and the animated video for his new single, Barnacled Warship (released August 16th) is a dark dystopia directed by Christian DeVita, lead storyboard artist on Wes Anderson’s ‘Fantastic Mr Fox’ as well as Tim Burton’s forthcoming ‘Frankenweenie’.
So, as you can imagine, we felt that a catch-up with Johnny was long overdue, and so when we were approached by his team to do a video interview, it was only a matter of fighting over which contributor was the biggest fan (the honour went to the lovely Chloe) and then we were ready to go!
Watch the feature for Barnacled Warship here:
Go to Johnny’s MySpace and website for lots more, including his newly released tour dates.
Way back in 2007, ed Amelia’s Magazine was one of the first to recognise the raw talent of a young Johnny Flynn, who won us over with the delicately nuanced themes in his poetic and lyrical songwriting. (The fact that he could wield a Gibson guitar like nobodies business also helped make him alright in our books). Fast forward to today and it’s safe to say that the kid done good. Supporting Mumford & Sons in their upcoming October tour, performing at summer festivals all over the country (including this weekends Cambridge Folk Festival) and collaborating with Laura Marling and Anna Calvi, Johnny has more than established himself in the British folk canon. But Johnny is no one trick pony; his new album Been Listening shows a strong appreciation of musical diversity, and gives respectful nods to early 20th Century blues, African music, and even takes inspiration from Herman Hesse’s Siddhartha. His creative streak runs deep, and the animated video for his new single, Barnacled Warship (released August 16th) is a dark dystopia directed by Christian DeVita, lead storyboard artist on Wes Anderson’s ‘Fantastic Mr Fox’ as well as Tim Burton’s forthcoming ‘Frankenweenie’.
So, as you can imagine, we felt that a catch-up with Johnny was long overdue, and so when we were approached by his team to do a video interview, it was only a matter of fighting over which contributor was the biggest fan (the honour went to the lovely Chloe) and then we were ready to go!
Watch the feature for Barnacled Warship here:
Go to Johnny’s MySpace and website for lots more, including his newly released tour dates.
All photography by Amelia Gregory.
You may remember way back in the mists of time, this web well, viagra buy at the start of June at any rate, cialis 40mg that I went off on a solidarity bike ride to Rossport in County Mayo. I got the biking part written up but as is usual it’s taken me forever to get this last part together – but maybe that’s no bad thing because it means I can give you a much more up to date account of happenings over on Glengad Beach, Rossport in County Mayo, possibly one of the most beautiful places I’ve ever been.
My Saturday at Rossport Summer Gathering was spent in various workshops, hearing from locals who have struggled against the pipeline, talking about ways in which communities can be linked up, watching a gorgeous live animation about Grace O’Malley, the Pirate Queen of Mayo, playing football, ceilidh-ing into the sunset and possibly my highlight: hearing Niall Harnett (currently still incarcerated in prison – see my previous blog) speak live over the Pedals PA system from Castlerea.
On Sunday more workshops were followed by possibly the funniest, most surreal and enjoyable mass action ever. Gathering our spades we set off en masse with the locals to dig a hole on Glengad Beach where Shell’s oily pipeline has been illegally laid in an attempt to get a head start on planning permission. This was necessarily a bit of a fool’s mission since we didn’t really believe our merry gang would actually expose the pipe, even with the help of many burly hands.
Shell has hired private security to live above this remote beach 24/7 in order to intimidate anyone who makes a fuss, and if our intention was to freak out them out then our action could be considered a success. It took awhile, but after several hours of energetic digging and sand slinging a number of curiously stereotypical security staff finally appeared at the top of the rise, whereupon a group of us gleefully scrambled up to dance in front of their less than well hidden film cameras.
Eventually most people got bored and hungry enough to wander off in search of supper so we never did reach Australia, or even the pipe, which was presumably laid far deeper by machines than we could ever hope to reach. But it felt so so empowering and was certainly the most joyous action I’ve ever taken part in.
Since we were there for the June gathering the real work has started in earnest, as Shell sets out to drill 80 boreholes along the coastline to complete the survey for the pipeline. Because the estuary near Glengad Beach is part of the Broadhaven Bay Special Area of Conservation they will have to stop drilling when the Brent Geese arrive in October, but in the meantime the operation is damaging parts of the estuary and disturbing Atlantic salmon, otters and rare birds found on the intertidal areas.
The folks living at Rossport have therefore launched the Beat the Boreholes campaign calling for groups or individuals to come and stop a specific borehole this summer – by doing anything from holding a banner and walking out onto the sands, or getting in the way by kayaking out to and boarding the drilling rigs. The plan is to make progress so impossible that the surveys cannot be completed this year, thereby holding up the implementation of the pipeline and costing Shell even more money in the process.
The idea was inspired by the 365 day blockade at Faslane nuclear base in Scotland – a place I have also visited and helped to blockade way back in 2005 when I was at the G8 protests at Stirling.
Kayak training.
News just in: Only a few weeks ago a group of campaigners set out on kayaks and rafts to try and stop work on one of the drilling platforms. They were met by a group of Gardai (Irish police) and had their kayaks overturned. One of the activists attempted to swim under the platform and was manhandled aboard their boat even though he volunteered to leave the area. His throat was pinched to cut off the air supply as a Garda whispered in his ear “I have your last breath in my hands.” He later received medical treatment.
It looks so peaceful doesn’t it?
There has been continuous human rights abuse at Rossport, just one more reason why you should get along and help out – your presence will help whatever action you chose to take when you are there, so don’t feel that you have to get all the way into the water like some brave souls. It really is so important to keep the pressure on at flashpoints like Rossport, and Erris is a place you will fall in love with. Find out more information about going to Rossport here.
Written by Amelia Gregory on Friday July 30th, 2010 3:37 pm
Having spearheaded the new London folk scene with their debut album, theremedicalNoah and the Whale are back with their hands full up, releasing a new single, album and film out this summer. We talk school plays, Daisy Lowe, weddings, gardening, Werner Herzog in the studio with the effortlessly charming frontman, Charlie Fink.
Photos by Katie Weatherall
Amelia’s Mag: You’ve got a whole host of new releases coming up – single, album, film – how are you feeling about it all, happy/nervous/excited?
Charlie Fink: All of the above… I dunno, we did the album so long ago… From the last album, I realised the only satisfying feeling you’re going to get is the feeling you get when you’ve finished it and you think it’s good, that’s the best it gets. Reading a review of somebody else saying it’s good is good to show off to your mum, but it doesn’t really mean anything. Likewise, if there’s something you believe in and someone says it’s bad, you’re still going to believe in it.
AM: And the live shows must add another dimension to that?
CF: Yeah. What I’m excited about really is that this record realises us as a band more than the previous one. So that’s going to be really exciting to go out and play that live to people.
AM: And is there anything in particular that has done this or has it been the natural progression of the band?
CF: It’s a million small things, from us playing together more, us growing up, learning our trade a bit better, from what happens in lives and the records you listen to. I very much try to rely as much as I can on instinct and satisfying myself. And this is not a selfish thing because the only way you can supply something worthwhile to somebody else, is if you’re totally satisfied with it yourself. Doing the right things for us and hoping that’ll transfer to the audience.
AM: Was there anything in particular you were listening to whilst making the record?
CF: The things I’m listening to now are different from the things I was listening to when I wrote the record. When I first started the record, I was listening to ‘Spirit of Eden’ by Talk Talk, which is a different sounding record to what we did. Nick Cave, lots by Wilco…
AM: So tell me about the film, ‘The First Days Of Spring’, that accompanies the album (of the same name)… which came first?
CF: The first thing was the idea of a film where the background and the pace was defined by an album. But it totally overtook my whole life. It’s one of those things you start for a certain reason and then you keep going for different reasons. The inspiration was sort of how people don’t really listen to albums anymore, they listen to songs. We wanted to try making an all emersive record where the film puts people into it. We’re not dictating that this should be the only way people listen to music, we just wanted to offer something alternative. On a lot of records these days, you don’t feel like the unity of the album gives it more strength than each individual song. Whereas with this record, the whole thing is worth more than the individual parts. That’s how I see it anyway.
There’s this quote from I think W. G. Collingwood that says, ‘art is dead, amusement is all that’s left.’ I like the idea that this project, in the best possible way, is commercially and in lots of other ways pointless. It’s a length that doesn’t exist. It’s not a short film or a feature, it’s 15 minutes and the nature of it is that it’s entirely led by its soundtrack. It’s created for the sake of becoming something that I thought was beautiful.
AM: And Daisy Lowe stars in it, how was that?
CF: She’s an incredibly nice and intelligent person. I met with her in New York when we were mixing the album and I told her I was doing this film… She was immediately interested. And her gave her the record as one whole track which is how I originally wanted it to be released. Just one track on iTunes that had to be listened to as a whole and not just dipped into. She sent me an email two weeks later, because she’s obviously a very busy person. With her listening to the album, a kind of live feed of what she thought of it. Making a film and having her was really good because she kept me motivated and passionate. She genuinely really took to this project. The whole cast as well, everyone really supported it and it was a pleasure to make. I had to fight to get it made and understood. It’s one of those things that people either passionately disagree with or agree with. From thinking it’s absurdly pretentious or beautiful. Fortunately all the people working on the film were passionate people.
AM: So is film making something you want to continue with?
CF: Yeah, definitely! At some point I’d like to make a more conventional film. The thing that really stuck with me about making a film was surround sound. When you’re mixing a film, you’re mixing the sound in surround because you’re mixing for cinemas. You realise the potential of having five speakers around you as opposed to just two in front of you. The complexity of what you can do is vast. So I’d love to something with that. If you record in surround sound you need to hear it in surround sound, so maybe some kind of installation… Then another film after that…
AM: You’ve been put into a folk bracket with your first album, is that something you’re ok with?
CF: I like folk music, I listen to folk music but then every folk artist I like denies they’re folk. It’s one of those things, it doesn’t really matter. We played last year at the Cambridge Folk Festival and I felt really proud to be a part of that. It’s a real music lovers festival. That was a really proud moment so I can’t be that bothered.
AM: I recently sang your first single, ‘5 Years Time’, at a wedding, do you ever imagine the direction your songs may go after you write them?
CF: Wow. That’s really funny. I’ve had a few stories like that actually. It’s touching but it’s not what I’d imagine.
AM: Do you write songs in that way? Some bands set out to write a love song, dance song etc…
CF: I can’t really remember how I write… I was writing last night but… do you drive?
AM: I just recently failed my test.
CF: Perfect! Well, you know when you start driving you have to think through everything – put my foot on the clutch, take it off the clutch etc. Then when you’ve been doing it a while, you just do all those things without even knowing you’ve done them. That’s how it feels with songwriting, I can’t really remember doing it. It just happens how it happens. Or like gardening… you’ve just gotta chop through and it’ll come.
AM: Is being in a band everything you imagined it to be?
CF: For me it’s more about being creative. I do some production for people, the band, the writing and now the film. I just love what I do and just keep doing it. I follow it wherever it goes. The capacity I have for doing what I do is enough to make it feel precious.
AM: So are there any untapped creative pursuits left for you?
CF: At the moment what I’m doing feels right. I never had any ambitions to paint. I don’t have that skill. I think film and music have always been the two things that have touched me the most.
AM: So how about acting?
CF: I did once at school when I was 13. I played the chancellor in a play the teacher wrote called ‘Suspense and a Dragon Called Norris.’ Which had rapturous reactions from my mum. I don’t think I could do that either. When you direct though you need to understand how acting works. It’s a really fascinating thing but I don’t I’d be any good at it.
AM: Do you prefer the full creative potential a director has?
CF: The best directors are the ones that build a character. Building a character is as important as understanding it. It needs major input from both the director and the actor. You can’t just give an actor the script and expect it to be exactly right. You need to be there to create the little details. The way they eat, the way they smoke… That’s an important skill.
At this point, Charlie asks me about a note I’d made on my reporter’s pad, which was actually a reminder about a friend’s birthday present. Which draws the conservation to a close as we recite our favourite Werner Herzog films. Turns out, he shares the same taste in film directors as my friend.
If Charlie from Noah and the Whale tells us he likes Wilco, then we like Wilco. It’s as simple as that. It’s time to get educated.
Wednesday 26th August
The Hot Rats
The Old Blue Last, London
Otherwise known as half of Supergrass plus hot shot Radiohead producer, The Hot Rats get their kicks taking pop classics by, amongst others, The Beatles and The Kinks and infusing their own alt-rock psychedelica – worth a gander.
Thursday 27th August
KILL IT KID Madam Jo Jos, London
Their blend of durge blues, barndance and freestyle frenzy jazz blues make KILL IT KID a gem to behold in a live setting.
Friday 28th August
Swanton Bombs Old Blue Last, London
If you like your indie adorned in Mod and brimming with angularity, then Swanton Bombs will be pushing the trigger on your buttons.
Saturday 29th August
South East in East Festival – Teenagers In Tokyo, Tronik Youth, Ali Love, Publicist Vibe Bar, London
It’s all about South East London – full stop. In this cunning event, it up sticks to East London, where synth-pop Gossip descendents, Teenagers In Tokyo headline a night of New X Rave.
Sunday 30th August
The Gladstone Open Mic Night The Gladstone, London
As it’s Bank Holiday Weekend and all the bands are at Reading/Leeds Festival, London is starved of big gigs. No fear, The Glad is here – A little known drinking hole in Borough that continually serves up a plethora of folkey talent… and pies!
Sunderland born designer Rosie Upright is truly passionate about design. Aren’t we all I hear you say? Well, health she’s up, recipe all hours, medical day or night… cutting away with her trusty stanley knife… stopping only when her numb fingertips plead for rest. Do your fingertips bleed? I thought not! Rosie developed her unique hand-crafted techniques whilst at university in Epsom, where she learnt all the usual computer design programs… and then decided to steer clear of them. She’s fled the suburbs of Epsom now, to live in London town with all the other hopeful new freelancers. She spends her days photographing, drawing, organising balls of string… and deciding what hat to wear.
We caught up with Rosie for a little chat…
Hi, how are you today?
I’ve got a bit of a sore throat coming on, the irritating children over the road are noisily playing some kind of shooting game, a car is beeping its horn continuously just below my window, itunes is refusing to play anything other than Billy Idol (which I’m not in the mood for), my coloured ink cartridge has just ran out, I’ve got a blister from my favourite pink shoes, an uninvited wasp is stuck in my blinds, my ginger hair has faded to a weird brown, I forgot to buy milk and Ronnie Mitchell is still crying on Eastenders – but apart from that I’m topper thanks.
What have you been up to lately?
Fingers in pies, fingers in pies!
Including…cross-stitch and a week in a cottage in Norfolk (no telephone signal or internet connection, bloody lovely!)
Which artists or illustrators do you most admire?
I don’t think I would have done a degree in graphic design if my ever-encouraging parents hadn’t taken me to a Peter Saville exhibition at the Urbis in Manchester many moons ago. Made me see the ideas process at its very best and the crucial-ness (that’s not even a word!) of initial doodles and sketchbooks.
“Be who you are and say what you feel because those who mind don’t matter and those who matter don’t mind.” Where would any of us be if it weren’t for Dr Seuss?
I really love a bit of Russian Constructivism, in particular Alexander Rodchenko and Varvara Stepanova, bloody genius. Mr Vaughan Oliver, for making us all think differently about where to crop the image, for being an ongoing influence and for that opportunity. Harry Beck, Robert Doisneau and most recently Philippe Petit.
If we visited you in your hometown, where would you take us?
Stroll down to Seaburn beach because when you don’t live next to the sea anymore you really miss it, and it has really nice sand. Then to my very best friend Sarah Bowman’s house, to play with Peggy Sue the kitten, have mental vegetarian sandwiches off a cake stand, and a glass of red wine, ice cubes and coke. We should pop to an art shop in Darlington and then to The Borough, the best pub for tunes, a pint of cider and a Jaeger bomb.
Who would most love to collaborate with creatively?
Mike Perry and YES art studio please. Thank you.
When did you realise you had creative talent?
When some hippy artist came into my junior school to create banners for some event at the local library with us. I was told after five minutes of colouring it in that I had to go away and read because I couldn’t keep within the lines.
If you weren’t an artist, what would you be doing?
A teenage Mam or an actress, haven’t decided which yet.
Where would you like to be in 10 years time?
I’d like to be the designer than graphic design students hate because their tutors always tell them to get their book out of the Uni library. And I’d quite like to have my own shop in London, Brighton or maybe Newcastle (or all three, and maybe Paris then if we’re going crazy) selling things made by me!
What advice would you give up and coming artists such as yourself?
Take other peoples advice but make your own mistakes, don’t be a dick and always colour outside of the lines.
How would you describe your art in five words?
Hand made/ typography/ narrative/ personal/ I’d like to say idiosyncratic too but don’t want to sound like a twat.
What is your guilty pleasure?
Seeing people fall over.
(and cake)
If you could time travel back or forward to any era, where would you go?
It was horrific enough moving away to University and into London and trying to find a job and start my life up. I think if I had to go backward or forward to another era I would probably just straight up die. Having said that though I would like to be a highwayman’s assistant.
Tell us something about Rosie Upright that we didn’t know already.
I can’t wait till I’m an old lady so I can wear those lacy nighties from Marks & Sparks and I love animals in clothes.
What are you up to next?
Going to make a cuppa tea, kill this wasp and then take over the world.
While most of us at the tender age of 19 rooted our existence in smacking down vodka jelly shots at the bar with kebabs at four in the morning and the Hollyoaks omnibus on a Sunday, pilule some people, of course, are born to shine in different ways. Take, for instance, London College of Fashion student Millie Cockton, somebody who has already had their work featured in a shoot for Dazed and Confused, styled by Robbie Spencer.
As a lover of clean lines and beautiful silhouettes, Millie looks for the wearer to bring their own identity to her gender non-specific pieces. At the moment under new label Euphemia, with her AW09/10 about to be stocked in London boutique and gallery space Digitaria, after being chosen to be the first guest designer at the Soho store. Check out the Dazed piece to see some brilliant Shakespearian-style ruffs that Millie has also created working with paper (a material proving popular as with Petra Storrs, who I featured last week).
Each to their own, mind you. I could totally do all that, if I wanted to.
At the age of 19 you’ve already received quite a lot of attention – how has that been?
It’s been great so far! It’s very flattering but its also very daunting! I am on a constant learning curve and my work is developing all the time so although the attention is great it creates a lot of pressure!
Describe your design aesthetic in three words.
Clean, sculptural, understated.
Who do you see wearing your designs? Are they reflective of your own personality?
I like to think of a real mixture of people wearing my designs. I love the way that the same garment can look completely different on different people- for me its all about the individual and how they carry themselves, bringing their own identity to the piece.
I don’t think that my designs are necessarily a true representation of my personality and personal style. I feel that my designs are more of a reflection of the aesthetic that i find desirable and aspirational.
Thinking about the ruffs featured in Dazed, people have touched on the theatrical nature of your designs – is the idea of performance important to you in fashion?
The idea of performance within fashion is something that interests me but I wouldn’t say that it’s a key element within my own designs. I like the notion of a performative element within a piece or a collection as i think that it helps gain a further understanding and insight of the designers thought process and inspiration.
What else do you respond to?
I am constantly discovering new sources of inspiration, being so young I know that I still have so much to learn!
I like to use elements of craft within my designs, such as origami style folding. Craft elements can add interesting details to simple pieces.
What are your plans for the future? Who would you like to work for?
I am about to launch my new collection which will be stocked in Digitaria, recently opened on Berwick St, Soho. I have just started to work with Digitaria’s creative director , Stavros Karelis and stylist Paul Joyce on some future projects which are really exciting and I am thoroughly enjoying. I want to continue learning and developing my ideas, challenging myself and most importantly keep having fun!
‘Having fun’ of course might well translate to ‘becoming future fashion empress of the galaxy’. This is a talent to watch out for.
The Camp for Climate Action 2009 is almost upon us – now’s the time to gather ourselves and prepare to swoop. Convinced that the response to climate change needs more? Ready to share skills, stomach knowledge and experiences? To be part of the grassroots swell of people demanding a difference? To get out there and do something?
Be ready next Wednesday, 12th August, from noon, in London. We’re going to swoop on the camp location together. The more people the better. Secret until the last moment, you can sign up for text alerts and join one of the groups meeting scattered about central London before moving together to the camp.
Why Camp? We can all meet each other and learn stuff – reason enough? – I mean, an enormous, public, activist-friendly child-friendly student-friendly climate-friendly gathering with an ambitious and well-prepared programme of workshops covering all things from Tai Chi for those of us up early enough, through histories student activism, DIY radio, pedal-powered sound systems, legal briefings, stepping into direct action, singing, dancing, jumping and waving.
Why London? Climate Campers have listed ten reasons to focus on London – right up the top of that list is : tall buildings and low flood plains. London is big corporate central, the City square mile itself accounting for a huge proportion of the UK economy, that FTSE100-flavoured slice of barely accountable, shareholder driven pie. And yet, as the Thames Barrier should always remind us, the whole city sits low on the ground. Just check out what the centre looks like with a few metres rise in sea level.
So what’s first? The Climate Camp Benefit party/shindig/jamboree/palooza/knee’s-up/gala ball/discotheque/rave/soiree at RampART, 9pm-3am this Friday 21st August. Consisting of fun/revelry/ribaldry/tomfoolery/jocularity/jive/merriment/high kinks, low jinks, jinks of all stature/cheer/gambol/horseplay & frolic. With bands & DJ’s including Rob the Rub & Sarah Bear & those amazing skiffle kids ‘The Severed Limb’. That’s at:
9pm-3am
rampART, 15 -17 Rampart Street,
London E1 2LA (near Whitechapel, off Commercial Rd)
Donations on the door much appreciated (and needed!) – all going straight to Climate Camp
And then? The Swoop – Night Before – Londoners and out-of-town visitors are welcome to ‘the night before the swoop’ – near the bandstand in Lincoln’s Inn Fields, 7-8.30pm, Tuesday 25th August – for any last minute info, a legal briefing and an opportunity to join an affinity group and get excited. Lincoln’s Inn Fields is just behind Holborn tube station – this map here might help.
Awesome. See you soon.
Ctrl.Alt.Shift dropped us a line to let us know about a comics-making competition so get your promarkers and layout pads at the ready. Ctrl.Alt.Shift Unmarks Corruption is giving you the opportunity to design a unique comic style story. Ctrl.Alt.Shift is the experimental youth initiative politicising a new generation of activists for social justice and global change. The competition hopes to raise awareness of the Ctrl.Alt.Shift and Lightspeed Champion goals and views by inspiring this generation of designers to work together.
Oscar nominated Marjane Satrapi, medical V V Brown and Lightspeed Champion are amongst the judges for the Ctrl.Alt.Shift Unmasks Corruption competition launched today. Corruption is both a cause of poverty, and a barrier to overcoming it. It is one of the most serious obstacles to eradicate.
Entrants to the competition will be in with the chance to create a unique comic style story in collaboration with acclaimed musician and writer Dev Hynes aka Lightspeed Champion. After the first round of judging at the end of September, shortlisted entrants will be given Lightspeed Champion’s comic script as inspiration and asked to create a visual adaptation of the story.
The winning commission will be published in a comic alongside new work exploring the issue of Corruption by some of comic’s greatest talents. The work will also be showcased as part of a new exhibition, Ctrl.Alt.Shift Unmasks Corruption, later this year at Lazarides Gallery, Soho.
To enter the competition please send relevant examples of your visual work along with your contact details to Ctrl.Alt.Shift by Friday 25th September by visiting www.ctrlaltshift.co.uk/unmaskscorruption.
Five short listed artists will then be given a comic brief to respond to and a winner chosen by a panel of judges including: Marjane Satrapi (Writer and Director of Academy Award Nominated Animated Film Persepolis) Paul Gravett (Comica founder), V V Brown and David Allain (Musician and Comic Book Writer/Artist duo), Lightspeed Champion and Ctrl.Alt.Shift.
The competition is restricted to UK Residents only
For further information about the competition please contact John Doe on 020 7749 7530 or Hannah@johndoehub.com / Jo.bartlett@johndoehub.com Brooke Roberts is my favourite new designer. Why? Well, more about after exchanging several emails with her over the last few weeks, for sale for a young designer making such waves in the industry, her witty and playful personality has impressed even via my inbox! Having worked with such characters such as Louise Goldin and Giles, her avant- garde aesthetic really shines through in her highly tailored and retro-feel designs. Miss Roberts is going places, and she’s more than willing to take us along with her!
What made you want to be a designer? What’s your design background?
I’m definitely not one of those designers who always knew that’s what they wanted to do. I did a degree in Applied Science at Sydney University (I’m from Australia) and worked as a radiographer for a year before moving to London to find out what I wanted to do. I did some work as a stylist with a fashion photographer (random hook-up). I knew his girlfriend and she knew my massive extensive collection of vintage clothes and shoes. My mum had a boutique when I was growing up and I loved clothes – I just never knew it was going to be my career.
I did a few jobs in London (pub, bank – more randomness) before realising I wanted to study fashion. I went to London College of Fashion and Central St.Martins (graduated 2005) wanting to be a pattern-cutter or tailor. I really wanted to create, rather than design. I get most satisfaction from making beautiful things and being involved in the whole process. I have a close working relationship with my suppliers, and go to the factories to develop my garments. I cut them all myself, which is probably bordering on control freakery, but I feel it shows in the final product and I can realise my designs exactly as I imagine them.
I’m waffling. I worked for Giles for two seasons after I left Uni, and started with Louise Goldin when she launched her label. We worked together for three years (until last October when I launched my label).
What are your inspirations for your collections?
I get lots of inspiration from my radiography job (I do that part-time to fund my label). So I’m running between the hospital and my studio all the time. I have used CT (cat) brain scans this season to create knit fabrics and digital prints. My obsession with reptile skins never seems to go away, and I have worked with Anwen Jenkins (awesome print designer) to create skull slice python skin prints. Basically, the python scales are replaced with multi-dimensional skull slices.
Apart from that, I research at museums and LCF Library. This season went to the British Museum and discovered Yoruba sculpture and traditional costumes. I researched these for silhouette and style lines. I also looked at Niger garments. They’re beautifully colourful, vibrant and flamboyant.
What are your favourite pieces from your latest collection?
Umm. I wear the cat suit most. I actually met my boyfriend the first time I wore it. So I’m renaming it Lucky cat suit. I also love the Flex jacket in red snakeskin. The razor sharp points make me feel like I am ready for world domination!
What was it like working with Giles Deacon and Louise Goldin? What did you learn from them?
I learnt that I hate taking orders from others! I’m really not one to toe-the-line. I am a perfectionist and this drives other people mad sometimes. I was a pattern-cutter at Giles, doing mostly tailoring, which suited me fine. Most people wanted to do the showpieces, but I was most happy cutting jackets. Giles is a really lovely bloke. Working with him was really my first experience of doing shows and the pressure and stress of getting everything done.
With Louise, my job was broader because in the beginning it was just the two of us. I learnt so much, I can’t even write it down. I worked in the London studio and the knitwear factory in Italy. I had the opportunity to learn knitwear programming, selecting yarns and cutting and constructing knit. I still work in the factory for my own label and really love it. The other big thing was learning about running a business and starting from scratch. The hoops you have to jump through, the process of getting sponsorship, doing shows, sales and production… It’s a massive undertaking starting your own label. And I still chose to do it! Bonkers.
Who do you think are the most important designers of your generation?
Hmm. Well, I like the work of Tina Kalivas and Gareth Pugh. If we’re talking most important, it has to be Gareth.
What do you think are the problems facing young designers at the moment?
The biggest problems are funding and dealing with suppliers, particularly for production. Creating a beautiful product that you can reproduce is actually really difficult! You need to understand the technicalities of fabrics and construction (or hire someone who does) otherwise it all goes wrong.
What’s next for Brooke Roberts?
In fantasy land, what’s next for Brooke Roberts is a holiday. In reality, I’m working hard on marketing and sales for London Fashion Week. I’m collaborating with jewellery designer Chris Edwards and shoe and bag designer Laura Villasenin on side projects for the label. Look out for skull slice stacked rings and metal bone-fixation embellished super-soft bags for SS10!!
Not slim tomatoes, viagra dosage narrow cucumbers or squashed, um, squashes – no, we’re talking about digging for victory in our own meagre abodes. With allotment waiting lists stretching beyond a century in Hackney and not many of us owning the half-county some how-to books seem to assume, options on grow-your-own approaches might look limited. But before you get the howling fantods at the piling impossibilities. As those of you who read the Amelia’s Magazine review of Growing Stuff (an Alternative Guide to Gardening) will know well, even the meagrest city apartment can burst forth in cornucopic life.
And but so then it seems the thing to do is simply to get a pack of seeds and a container and get growing, no hesitation about it. If a brief pause in favour of screenreading sounds like it could lead to better inspiration, I entreat you, read on. There’s a glut of blogs and enthusiasts all over the place to speak to or read up upon. Here are just a few of our favourites.
Life on the Balcony tells Fern Richardson’s encounters with gardens small and smaller, great for fresh faces and old hands alike, with an awesome friendly dirt cheap ways to garden.
Carrie, of Concrete Gardening blogging fame (true in a juster world), digs organic urban gardening, and has gotten into gardening without the erm, garden, since buying a house in the city (Philadelphia) and sees all the possibilities of planting up, sideways and over – just recently blogging about taking things to the next level and climbing up on her roof to plant out veggies, seedlings to sit and soak up sun.
Herbs and Dragonflies is written by a group set up by Kathy Marshall back in 2008 for the Pudsey Carnival and have been creatively, craftily planting since, encouraging others to get their green fingers dirty – doing activities with children and volunteering about the place. Most recently, they encouraged us blog-readers to leave the comfort of plastic planters and terracotta pots – most anything can sit with some soil in it. They suggest novelty Cadbury’s Fingers tins, I’ve used fancy jamjars, and seen anything from skips to wellington boots enlisted in the service of greenery.
Emma Cooper (I’m cribbing now from the ‘Growing Stuff’ contributor biogs page) lives in Oxfordshire with two pet chickens – Hen Solo and Princess Layer – and six compost bins. She has written an ‘Alternative A-Z of Kitchen Gardening’, which Karen Cannard The Rubbish Diet reckons is ‘an inspirational tour of an edible garden that can be recreated in the smallest of backyards. An essential guide for a new generation of gardeners who are keen to join the kitchen garden revolution.’And she blogs about anything from compost to pod plants to the future of food…
Madeleine Giddens loves herbs, which I guess you’d guess from the name of her blog – Mad About Herbs. But there’s nothing off the wall about any of it, she’s plunged into an obsession and come out smelling of roses and lavender, buzzing about bees too, recently, and their favourite flowers.
So there you have it, just a few spots and pointers. Good evening, and wishes for a fruitful weekend from Amelia’s Magazine.
The Royal Bank of Scotland. RBS. Formally known with pride as the “oil and gas bank” due to their close alliance with the fossil fuel industries. What on earth would I have to do with them? They may have lost the unfortunate moniker, treat partly due to a hugely successful campaign by People and Planet student activists who launched a spoof ad campaign and website named the Oyal Bank of Scotland before delivering a host of greenwashing awards – but they’re certainly not due for any special ethical mentions yet.
Not yet.
There was of course a massive £33 billion bank bailout from the taxpayer for RBS last year. But RBS didn’t spend the money on anything worthwhile. Oh no, the truth is that RBS still has oily blackened hands. Most people will remember the Fred Goodwin debacle, he who managed to retire at the age of 50 on a £16 million pension funded by taxpayers. But that’s not the whole of it – since the bailout some of our money has been used to arrange loans for the fossil fuel industries worth a staggering £10 billion, including a substantial sum for E.ON, the company that wants to build a new coal fired power station at Kingsnorth. Despite the best efforts of activists – there was an impromptu snowball fight during the winter, Climate Rush held a luncheon dance and Climate Camp set up camp down the road at Bishopsgate – RBS continues to invest in unsustainable resources.
But the good news is there is hope for change!
As I’ve got more and more involved with activism I’ve got to know members of PLATFORM, who together with People and Planet and the World Development Movement have launched a legal challenge against our government to make sure that public money used for bailouts is put towards building sustainability. PLATFORM is an organisation that combines art with activism, research and campaigning, so in many ways we are perfect partners and I was really excited when they recently approached me to collaborate on an exciting new project at the Arnolfini gallery in Bristol.
As part of a wider festival named 100 Days, PLATFORM will be co-producing over 50 events, installations, performances, actions, walks, discussions and skill shares over a period of two months. This season is called “C words: Carbon, Climate, Capital, Culture” and is intended to highlight what needs to be done to change the world in the run-up to the incredibly important (but unlikely to solve anything) COP 15 conference (think Kyoto 2 – it failed first time around so why would it succeed now?) in Copenhagen in December.
Your part in this audacious experiment?
We’re going to re-envision RBS as a bastion of sustainability – the Royal Bank of Sustainability in fact. And it will be down to you to create the artwork… once more I will be running one of my becoming-somewhat-regular open briefs. We would like you to submit either a logo or a poster (or both) that will suggest a swing in the direction of all things sustainable in the most imaginative way possible. Around ten of the best artworks will be shown for a week at the prestigious Arnolfini gallery in Bristol as part of the whole shebang, culminating with a public judging and prize-giving overseen by yours truly and helped out by the folk at PLATFORM and no less than the Marketing Manager of the Arnolfini, Rob Webster, and Fiona Hamilton of Soma Gallery (Bristol), a woman with great taste in the arts who runs a cult art shop that has been a long standing supplier of my print magazine. We might even invite someone powerful from RBS! (invite being the operative word) After the event PLATFORM will profile you on their website with links to yours, and prior to the actual event I’ll be posting the best entries onto my website – one good reason to get your artwork in as quickly as possible.
If you are interested read on:
What you need to know:
Ideas:
Yeah yeah – we all know wind turbines are great news and polar bears are having a terrible time, but for this brief we’d like you to think a bit outside the box. We’ll be looking for the most refreshing ways of thinking about how we can live in the most sustainable way possible, and most importantly how RBS could play a possible role in aiding this transition to a low carbon world. Don’t forget that we, the taxpayers, own 70% of RBS – why not make it into the people’s bank? You should make clear in your chosen design the re-imagining of the old RBS into the new. Instead of investing in carbon-intensive industries the new RBS will serve the public interest by investing only in socially conscious, ethically driven, and environmentally sound projects.
Style:
Think serious or earnest, kitsch or ironic, warm and fluffy, abstract or illustrative; whatever best communicates the concept and appeals to the broader public, the press and perhaps even people in government. It should engage and inspire. You can collage photography on your computer or paint with your fingers and toes – what matters is the outcome. We want to see imagery that speaks of something new, radical and POSSIBLE. Think positive social force. We love the Obama image that was used in the run up to his election – the reworking of his image in a simple pop art style somehow speaks volumes about new, positive change – and has fast become an iconic piece of graphic design, so we thought we’d use it here to demonstrate that you don’t have to be too literal in your interpretation of the brief to create a successful image. If you choose to create a poster remember that it could be made as an advert.
Technical specifications:
your image should be created to these sizes and scannable or put together on a computer:
A1 for the poster.
A2 or squared off A2 for the logo.
Please send me a lo resolution version but make sure you work to these sizes. We will arrange for the printing of your image should it be chosen.
Deadline:
We need your submissions to reach me by Monday 2nd November. Please send lo res versions of your design to info@ameliasmagazine.com
Future projects:
Please bear in mind that if we really love your work we might want to use it in further literature and exhibitions. Just think, your work really could persuade RBS to change course at a pivotal point in our history. What a fabulous idea!
Join the facebook event here to stay in touch with updates
And join the “Stop RBS using public money to finance climate change” facebook group here
Below is a list of links you might want to peruse for inspiration:
Get scribbling folks! Any queries please contact me directly via email rather than on the comments below.
If you have been to a UK festival in the last few years, pharm chances are that at some point you found yourself dancing in the OneTaste tent. Having residency at Glastonbury, sicknessBig Chill and Secret Garden Party to name but a mere few, OneTaste have acquired a devoted fan base of festival goers who want a guarantee that when they walk into a tent they will get the following components; top quality live music, an high-spirited and friendly crowd, and twenty four hour revelry.
OneTaste in Hyde Park, London
Yet their festival appearances are just one aspect of the multifaceted music troupe. When they are appearing at say, SGP or Glasto, they perform as a collective of musicians, poets and artists who, for many of the festivals, break bread and share space with Chai Wallahs. When they put on events in Greater London and Brighton, (where every night is different from the last), their roots run deep, towards diverse and innovative singers, performers and spoken word artists. They are fiercely proud of their reputation of facilitating and nurturing emerging talent; promoting, not exploiting it, connecting with the audience and creating a true OneTaste family, both onstage and off.
I have known of OneTaste for years, being friends with some of the artists who have performed with them. Having shamelessly utalised their tent at this years Secret Garden Party to dance, drink, chill, detox and then re-tox, I felt it was time to get to know them a little better. The perfect opportunity came at the recent OneTaste night at the Bedford in Balham which I attended recently on a balmy Thursday night. The vaudeville past of the Globe Theatre within the Bedford was an apposite setting for the style of event that OneTaste puts on. As the preparation for the evenings entertainment began in this deeply historical building, I managed to catch a quick chat with the creator of OneTaste, Dannii Evans, where we talked about the rhymes, reasons and the meaning behind this unique and innovative event.
photograph by Kim Leng Hills
When I saw OneTaste’s excellent night in the Jazz Cafe a while back, I saw a lot of different styles of music and spoken word. What would you say is the one common thread that unites everyone?
We’ve always been trying to find out what the thread is! It is definitely not genre, we do every single style and welcome every style, probably the only genre we haven’t booked yet is heavy metal! The thing that links us all together .. (pauses)… is that everyone has got a massive social conscience; it is not always explicit, but it is implicit within a person, it’s in their art. It’s something that holds us all together, everyone at OneTaste has that in mind – that there is a bigger picture and that we need to better ourselves in everything that we do.
The OneTaste music and spoken word night, started four and a half years ago by myself, and Jamie Woon. We basically started it in order that these musicians can do something where they could get paid.
You pay the performers? That’s so rare!
Definitely. We wanted to put on a night where the quality of every single act was really high and it could be where musicians could start their career, so that was the premise. Also the concept is that the event is always half music, half spoken word.
So is it a collective, a record label, an event? I’m kind of confused!
It started off as an event, with us meeting a number of artists and acts that we got on really well and gelled with, who we took on tour around festivals, and then out of spending three months together we formed the OneTaste collective. It started becoming an artist run collective where people would help with the actual event production and then it ended with them all collaborating on material together.
How do artists become part of OneTaste? Is it something that they can dip in and out of?
Absolutely, it’s not exclusive. It grew organically, it’s not an in or out thing – it happens more naturally than that.
Do you have to audition to get in?
To take part in the OneTaste night, either myself or someone running it have to have seen them live. Audience engagement is very important to us, to reach out and to be able to communicate with the audience is really vital. The live aspect and their live dynamic with the crowd is so important, so while they don’t audition, we do need to see how they will perform.
So it seems to have grown hugely in the last four years; Can you give me an idea of the numbers of acts that you have worked with?
In the collective, we have around 30 acts that we are currently championing, but in the last four years we have worked with around 300 artists. The audiences have grown from 40 people to 300 here at the Bedford, 500 at the Jazz Cafe, and 5,000 at the recent gig we did in Hyde Park.
How does OneTaste promote its artists?
It has always been very grass roots, we’ve never done an advert, it’s always just been people coming down and then telling their friends and from that it grew really quickly.
Are there many of the artists signed to labels, and do you help them along their way?
We do, we give them industry advice – we develop their music, or spoken word, we try to help where we can. Some of the artists like Jamie Woon or Portico Quartet have gone on to get more media attention and they kind of carry the OneTaste name with them and still do gigs for us.
What is the direction that OneTaste is heading in?
Potentially, we might have our own venue at festivals next year, which is really exciting. We have a digital compilation coming out, the first one will be coming out in September, and eventually we may form a OneTaste record label.
Gideon Conn performs at OneTaste Bedford.
Dannii and I continue chatting for a short while, and after this she has tasks to do. The audience is filling up, and the night is about to start. Sitting on a bench in the back with a big glass of red wine, I watch the event unfold. The performers are electric, and completely different from one another, yet equally complimentary. Most appear to be old friends, and loudly cheer each others performances. The atmosphere is infectious, I can’t remember the last time I enjoyed myself so much at a gig (and it’s not because of the wine!). I’m quite au fait with the open mic nights and acoustic gigs of London, but I haven’t been to a night which is as cohesive and inclusive as OneTaste. If you want to experience it for yourself, OneTaste are easy to find. Check out their Facebook, MySpace, YouTube and Flickr for images, articles, and dates about upcoming shows, which include a September 8th gig at The Distillers in Hammersmith and 27th September at The Hanbury Club in Brighton.
This week Climate Camp 2009 swoops on London, this site aiming to pressure politicians ahead of the Copenhagen climate change summit in December. Climate Camp will achieve this by encouraging individuals to think about lifestyle changes possible both collectively and personally to prevent climate change.
Sharing these sensibilities, the French Collective Andrea Crews encourage a new life philosophy outside the corporate rat race so often associated with London and other major cities. Being introduced to the fashion/art/activist collective Andrea Crews felt like a breath of fresh air often associated with Amelia’s magazine, a long time supporter of sustainable fashion, craft, activism and individual design.
Andrea Crews Collective express their desire for economic and social change through “the use and the reinterpretation of the second-hand garment” calling it “a social, economic and ethical choice.” A choice displayed by the sheer volume of abandoned second hand garments used throughout the catwalk shows, art exhibitions and activist events. The group criticise the relentless waste of modern consumption, fast fashion has helped to create, through visualising the stress on land fill sites around the world in their staged events. Subsequently by ignoring market pressures: mass seduction and seasonal calendars, Andrea Crews re-introduces a slower, more individual fashion culture through the processes of sorting and recycling.
The Crews Collective march to the same tune as Climate Camp, not only by caring for the environment but in their dedication towards an alternative developed sustainable economy. Andrea Crews encourages mass involvement stating that the project “answers to a current request for creative energy and social engagement. Recycling, Salvaging, Sorting out, are civic models of behaviour we assert.” Thus the power of low-level activism or grass roots activism becomes apparent, if enough people participated with Climate Camp or The Andrea Crews Collective. The pressure on governments to look for an alternative way of living would be undeniable.
The ever-expanding coverage of ethical, eco fashion on the internet plays testimony to the idea that the individual is changing. The Andreas Collective through their exquisite catwalks –particularly the Marevee show with the appearance of clothes mountains which the models scrambled over to reach the runway- draw attention to the powerful position regarding sustainability, fashion can occupy if it so chooses.
All quotes and images are from the Andrea Crews website. DIY LONDON SEEN The Market Building
Covent Garden, doctor London WC2 8RF
Until 5th September
DIY LONDON SEEN hopes to illustrate the growth of the movement inspired by the ‘Beautiful Losers’, doctor which is now a global phenomenon, generic by showcasing the work of local artists whose work takes the ethos of the Alleged gallery Artists and runs with it.
Show runs from: 28th August- 2nd September ’09,
with a preview on the 27th September from 6.00-9.00pm
Artists: Ellen Burroughs presents intricate technical drawings of a surreal nature, Sophie Axford-Hawkins shows bespoke jewelery that follows an identical theme.
The Jake-OF Debut UK Solo Show
Austin Gallery
119A Bethnal Green Road,
Shoreditch London E2 7DG
Running from the 3rd-16th September.
The opening evening is on the 3rd at 6:30pm.
Featuring a collection of his best print, sculpture and instillation work from the past four years. The show will include prints from the Quink series and the first original Quink painting to be exhibited.
So Long Utopia East Gallery
214 Brick Lane
?London ?E1 6SA
Until 2nd September
EASTGALLERY is proud to present the first solo exhibition of UK artist Sichi. ‘So Long Utopia’ will feature a thematic collection of new paintings and drawings. ??‘So Long Utopia’ is an energetic exhibition focusing on the theme of the lost Utopian dream. The artworks in this collection are of portraits, statements and imagined characters, where any premonition of ‘Utopia’ is quickly dispelled by the creatures inhabiting Sichi’s dystopian world.
Opening 19 August 6:30 – 8:30
20th – 31st August
Free
A busy August Bank holiday weekend is almost upon us, dosage and if you cant make it to Climate Camp starting on Wednesday there is plenty of other events to keep you occupied this week.
Festival of The Tree 2009
Delve into the world of wood and trees with sculptors, workshops, walks, art exhibitions and more with all proceeds going to treeaid, a charity that is enabling communities in Africa’s drylands to fight poverty and become self-reliant, while improving the environment. Weston Arboretum has a week long run of activities, with the organisers calling it a radical transformation from last year with exciting new additions.
Check the full programme of events here.
From Monday 24 – Monday 31 August…
Open daily from 9am-5pm?Admission: Adult £8, Concession £7, Child £3.?
Camp for Climate Action
A week long event kicking of this wednesday with with a public co-ordinated swoop on a secret location within the M25, make sure you sign up for text alerts and watch Amelias twitter for updates. Join your swoop group here, the locations have been revealed so get planning your route.
Check the great list of workshops here, and get ready for some climate action.
There’s workshops to suit everyone from direct action training to consensus decision making for kids, as well as evening entertainment from the Mystery Jets among others. Come along for a day or the whole week.
Wednesday 26 Aug 2009 to Wednesday 02 Sep 2009
E-mail: info@climatecamp.org.uk
Website: www.climatecamp.org.uk
Carshalton Environmental Fair
The Environmental Fair is one of the biggest events in the London Borough of Sutton. 10,000 people attend with over 100 stalls with environmental information, arts and local crafts, with stages showcasing local musical talent, a Music cafe and a Performing Arts Marquee. Food stalls and a bar thats also showcasing some local talent. There is a free bus operating from Sutton.
Adults £3, concessions £1 and kids get in free.
Monday 31st August
Contact: fair@ecolocal.org.uk
Website: http://www.ecolocal.org.uk/
Green Fayre
Range of Green craft workshops where you can learn about the most pressing environmental issues and how you can live a more sustainable life, all set in the Welsh country side. Yurt making, permaculture design, spinning, screen printing, pole lathe, bird box making, cooking from the hedgerows and much more.
Date: Friday 28 Aug 2009 to Monday 31 Aug 2009
Weekend Camping for the family £40?E-mail: info@green-fayre.org
?Website: www.green-fayre.org
Benefit gig for Anarchists Against the Wall
At RampART social centre, music with Hello Bastards, Battle Of Wolf 359,Suckinim Baenaim (Israel), Julith Krishum (Germany). The AWW group works in cooperation with Palestinians in a joint popular struggle against the occupation.
Monday 24 August 2009 19:00 RampARTSocial Centre?15 -17 Rampart Street, London E1 2LA?(near Whitechapel, off Commercial Rd)
London Critical Mass
Cyclists get together to take control of the roads around London usually with a sound system in tow. The London Mass meets at 6.00pm on the last Friday of every month on the South Bank under Waterloo Bridge, by the National Film Theatre.
Not got a bike, dont worry, any self propelled people from skateboarders, rollerbladers to wheelchairs are welcome.
Friday 28 August 2009
Website: http://www.criticalmasslondon.org.uk/ Earth First Gathering 2009 was held over last weekend. It’s an event we’ve been looking forward to since it appeared in our diary back in July. Check out our Earth First preview for more information. We all pitched up our tents in the wettest place in Britain which unluckily lived up to its name, doctor but although it didn’t feel like summer it didn’t stop any of the numerous workshops from going ahead and there was even a handy barn where people could take refuge if their tents didn’t survive the downpours.
There were chances for people to get to grips with water activities like building rafts and kayaking on the nearby Derwent lake, help plenty of discussion groups and chances for people to learn new skills. A forge kept many enthralled, viagra me included, and it was great to see the dying trade in action and people learning from the experienced blacksmiths.
Seeds for change, a group that holds workshops for action and social change, were down at the camp, get in touch with them if you’re thinking of holding your own event and they will be willing to facilitate a range of engaging talks and discussions. Tripod, a Scottish based training collective working with grassroots and community groups is another to check out – there is plenty to benefit from with training and support that gears towards social action.
Earth First has been going for decades and with direct action at the heart of what they do, it has helped and nurtured many to get involved and start taking action themselves rather than relying on leaders and governments. Look out for the next gathering, as EF notes, “if you believe action speaks louder than words, then Earth First is for you.”
We legged it up the amazing waterfall that created a great backdrop to the camp before tea one evening to get some great views over the valley.
Joining the queue for our meals was a daily highlight, you could browse the radical bookstall along it that had numerous zines and books for sale. Then the food, put on by the Anarchist Teapot, was amazing and i was queueing up for seconds at every opportunity. Evening entertainment was put on by a ramshackle group of poets and musicians and hecklers, and sock wrestling was also a new experience for me, got to try that one again.
On cue the heavens opened on the last night, but I managed to get my tent down and joined the chickens in the barn where I literally hit the hay.
Just thought I’d say well done to the police FIT team who were able to navigate the windy and tricky road to turn up most days: good effort! The Legion in Old Street has undergone a bit of a refurb since the last time I was there. Vague recollections of dodgy sauna-style wood panelling on the walls and a Lilliputian stage awkwardly occupying one corner are now banished by what seemed like an even longer bar than was there before. The venue has had a fresh wave of new promoters which appears to have progressed it from a jack of all things club-based, website like this in an area drowning in the like, there to somewhere incorporating a broader musical palette. A case in point tonight, being the headline band, Death Cigarettes.
I’d seen Death Cigarettes a couple of times around various East London venues over the last twelve months. For a band whose reputation is in part founded on an explosive live show, the cavernous confines of the Legion seemed to take some of the sting out of them, compared to more intimate settings.
Musically, they inhabit that driving New York No Wave inspired sound – thrashing guitars, pounding drums and rumbling bass coupled with urgently delivered vocals. An obvious comparison is with early Yeah Yeah Yeahs, and there is certainly more than a touch of Karen O in enigmatic lead singer Maya.
With this band though, the music is only half the story. Coming on unusually late for a Sunday night, Maya emerges from the encaves of a slightly startled audience to take the stage to join the rest of the band as they thrash away around her. It’s not long though before she heads back out into the throng… One group of people were ensnared by her mic lead, another was treated to an intimate introduction with a flying mic stand before Maya suddenly reappears behind the audience, exhorting the crowd before her from atop a table. At this point, the guitarist also wanted a piece of the audience action and decides to go walkabout, before concluding the set with a piece of probably not premeditated Auto-Destruction, reducing his guitar to matchwood.
Death Cigarettes have certainly been making a few noises of late, with the likes of Artrocker and The Fly singing their praises, and they are set to appear at the Offset Festival (new guitar permitting). For a band with a distinct approach to their music and performance, it will be interesting to see if they will, over time, develop their sound to the same extent that NYC steadfasts, Yeah Yeah Yeahs, have so spectacularly done. Liberty prints have become something of a British Institution in the fashion world, cialis 40mg inspiring the current vintage scarf and headband trend as well as influencing designers to include whimsical prints in their own creations (basically everybody on the high street). Prints conjure up an image of refined country values, thumb and have a truly English feel to them, stomach reminding us of our grannies chicly riding their bicycles in winding country lanes after World War 2 (maybe that’s just my overactive imagination!)
Until 2nd September an entire exhibition is being dedicated to this quintessentially British item on the fourth floor of the London Liberty store, and Amelia’s Magazine think you should get in touch with your inner fifties housewife and check it out!
Aptly entitled Prints Charming, the designs at Liberty’s exhibition certainly do what they say on the tin. Six designers were invited to contribute to the show to create their own unique take on Liberty’s iconic prints. Designs span from the pottery artist Grayson Perry’s enigmatic creations featuring tombstones, teddy bears, knuckle-dusters, swings, roundabouts and bicycles mounted on fabric, to uber-famous Meg Matthews’ teeny floral print wallpaper pieces given an injection of rock and roll heritage (like Meg herself) with snakeskin and skulls motifs. Other artists involved with the project include Paul Morrison, Mike McInnerney, Michael Angove, Anj Smith and Simon Hart, each taking an individual and modern approach to the eponymous Liberty print.
The exhibition reads like a piece of installation art. In fact, art aside there is much more happening. Take note of the furniture and décor (mirrors, chairs, chandeliers and tables) coated in Liberty prints, heavily featured throughout the window display designed by Interiors company Squint. Not forgetting that the store’s entire exterior is decorated in the Betsy micro-floral print. The show also includes full size dolls dressed in Liberty rags, a Wendy house covered in strips of print by artist Helen Benigson, and vintage bicycles by classic bike-maker Skeppshult redesigned with a Liberty twist (complete with feather headdress!)
Being an exhibition, the history of the iconic print is thrown in for good measure too. Documentation of the label’s historic collaborations can be found throughout, featuring modern legends such as Chloe Sevigny for Opening Ceremony, APC, NIKE and Kate Moss for Topshop. This is an art-fashion collaborative experience not to be missed!
Everything designed is available to buy; whether that be in fabric, notebook, scarf, luggage tag, boxer short, wellie boot or lampshade form! With the endless list of talent involved, there’s no doubt something to catch anyone’s magpie eye. Several prints are one-off pieces made especially for the show, such as Matthews’ wallpaper, therefore ensuring a chance of grabbing a piece of history in the making. And who doesn’t love a bit of print patterning? After all, with the current revival of all things retro, Liberty prints are up there with shoulder padding and acid wash in fashionistas’ hearts! So get down to the exhibition before the opportunity to soak up the artistic atmosphere disappears (like most the stock will be sure to do!)
Swap shops, ampoule Freeshops, generic give away shops, visit this site they all aim to go against the capitalist framework, and often people can’t quite get their heads around the idea, that, yes it is free and you can take it!
When I dropped by the free shop near Brick Lane, I received firsthand experience of this when a woman asked the way to the ‘trendy’ Shoreditch area and when invited to look around the Freeshop declined with a shrug of the shoulders. It appears it just wasn’t hip enough, that or she couldn’t quite comprehend the idea of a piece of clothing for under 50 quid.
When speaking to some of the squatters, the Freeshop felt like an organic progression from the original squat in the building: “The idea of this Freeshop had come out from a series of workshops held in the squatted building last month. Originally, the building was opened up for a free school, and when that was over we realised we had this shop front on Commercial Street and felt it would be interesting to kind of undermine the shops down the road.” Donations from friends helped to get it off its feet and now they seem to be undated with more than enough.
With our ‘throw away society,’ Freeshops can form direct action and can engage people to think about the way they live and consume. They also see it as a chance to try and engage with the community, which means the squatters don’t get isolated in the neighborhood. They also feel the shop was an important medium of communication to people. It seems to be working well with most people having a chat or picking up leaflets when they come in to look around. The basic idea is that it should not just be about taking things, but sharing ideas too.
The squatters make efforts to engage with the community, with flyers sent out when they set up shop. Although the state has rigid bureaucratic rules to follow regarding squats they hope that support from the community will help their cause. The court date regarding an impending eviction is on 28th August, but they are hopefully looking to get it adjourned. Signatures and people giving support certainly can’t hinder their defense.
As well as offering clothes, shoes and household items, the Freeshop also has space for regular workshops and events where members of the community and network can get involved. A wind turbine course is in the pipeline so make sure you drop in to check when it’s happening.
I had a chat with one of the squatters to get a better insight into the ideas and experiences behind the Freeshop.
Have you had any experiences of Freeshops before you came here?
Berlin, Barcelona, Bristol all have set up freeshops and there are plenty more around the world. One time in Barcelona went down the main commercial road with a stall, loads of people came to pick up stuff, completely ignoring the chain stores. It was like people were just interested in consuming products wherever they came from. The cops were called of course.
Can you get moved on for that?
Maybe, I mean, but look at the number of people selling sausages in the centre of town – it depends on how big or moveable the stand is. We had the idea of maybe setting something up down in Hanbury Street, just at Spitalfields Market, but that’s just an idea so far.
What kind of people do you get coming in?
Some homeless people come in and others, how shall we say, are like the kind of people who go down Brick Lane on a Saturday or Sunday afternoon. There’s a really broad range.
Can people get involved in the Freeshop?
Come along to say hello or to the meeting on Tuesdays, that’s a good place to start, talk about and organise things we want to make happen, maybe do a shift in the shop.
Do you look to publicise, and how do people find out about the Freeshop?
There’s a big difference between being on the net and Facebook/social networking, and just relying on old style traditional methods, just by being here, and it works like a shop that people can just come into. It’s good to see how far just traditional ways can get us, and if that works well, then maybe others will do the same. It’s not rocket science, there’s no big intellectual concept behind it, it’s just a free shop.
Located on Commercial Road at the end of Quaker Street, drop in to pick up some new stuff while it lasts and offer your support.
Written by Adam S on Tuesday August 25th, 2009 4:03 pm
The Barbican towards The Bank of England. It was enjoyable to be part of such a good natured crowd and it was fun to watch all the shop owners standing outside their establishments, watching with fascination at the colourful carnival proceeding past them.
