Amelia’s Magazine | Climate Camp 2010 at the RBS HQ in Edinburgh: a Break the Banks action round up.

Climate Camp 2010-nature doesnt
All photography by Amelia Gregory unless otherwise stated.

Over the past few years I have become increasingly embedded in the process of Climate Camp, see so I am well aware that the run up to this year’s Climate Camp has been more fraught with difficulties than ever – but as a spectacularly open grassroots non-heirarchical direct action organisation we would be the first to acknowledge this fact. We argued long and hard about whether RBS was an appropriate target for this year’s activities, physician and we picked our spot without really checking in with Scottish activists who were not present at the meeting, information pills thereby alienating some of our allies… so it’s a testament to the movement we’ve created that I left the Edinburgh camp feeling that Climate Camp, whatever nebulous thing that might be, is stronger than ever. We may not have grown in numbers but there has been a definite increase in the quality of active participation and we are slowly becoming more diverse too – there was a notable improvement in our age, class and racial make up this year, though we still have a long way to go.

Climate Camp 2010-camp life
Climate Camp 2010-scene

And we were successful – we didn’t for one moment imagine that we would make the same kind of splash in the national media as we have in other more southern based years (journalists are notoriously bad at travelling for any kind of story: witness the lack of press surrounding our extremely successful Ratcliffe on Soar action in October 2009) but we certainly made big news in the Scottish press, we did loads of outreach and best of all WE GOT IN THE WAY. We shut shit down and generally made a nuisance of ourselves that served to highlight climate and community wrecking investments in tar sands, open cast coal and biofuels. We’ve cost RBS and the companies it funds a certain amount of money and reputation, and we’ve got people talking.

Climate Camp 2010-welcome
Climate Camp 2010-setting up site
Setting up site.

So, back to the beginning. I was part of the initial Land Grab on Wednesday evening…. which meant taking two days to get up to Scotland and not at any point giving away our whereabouts. On arrival at our destination we scrambled through fields in search of the huge seven tonne truck that transports our big marquee poles, already parked in the middle of the manicured lands that belong to the RBS HQ. From there I walked into the adjoining field and marvelled at our audacity, for we’ve never been this close to our target before. There it was, the HQ lit up like a giant christmas tree well into the night, rumoured to be so large that it supports its very own supermarket. It seemed almost impossible that with only a hundred people we might take this second field too, but take it we did because soon people were trundling around with wheelbarrows full of tat (an all encompassing word to describe all the stuff we need to run a camp). From the top of the man made mound we could see right into the glass walled HQ, where bored workers were no doubt entertained by us for a few days before RBS decreed they should work from home.

YouTube Preview Image

By the time I got up the next morning the site was already humming with activity and new campers who had joined us over the course of the night when they heard about our location via text and twitter. This year’s site, as well as being the cheekiest we have ever taken was also the most beautiful, and abundant with wildlife: mice, frogs and lots and lots of slugs. It’s long layout did however put paid to the permaculture plans we have adhered to in previous years, and necessitated a long walk from one end to the other.

Climate Camp 2010-set up

My role at Climate Camp has settled into a bit of a routine – taking photos, video and twittering. It leaves precious little time for physical work around site and I’m usually to be found in the media tent or rushing around on an action. We had incredibly bad reception on this site, and I soon became friendly with the Comms tent which was sited on the top of the hill and had a better 3G signal. For those of you who don’t know what I’m wittering on about, Comms refers to our defence and communications system which works by collating information from people on all the gates around site. It’s a 24 hour a day job and this year it was skill shared in a most impressive way for the first time.

Climate Camp 2010-media team
Some of the media team.

I think we’d all been fearful that this camp would be much less well attended than previous ones, but by Friday I estimate that there were almost 1000 people on site, and it felt as though they were all there for a purpose. At Blackheath last year we really focused on outreach and both that and our location ensured rather a lot of sightseeing which unfortunately meant that direct action took a major back seat to workshops. This time the workshops timetable was slimmer, and from early on there was a notable amount of small affinity groups planning direct action in the tall grass. This I think is a good development. And take direct action we did – every day. Here are some of the best actions I took part in:

Climate Camp 2010-refugee camp

1. Taking the land, obviously.
The biggest direct action of them all – it’s hard not to be nervous with an action like this on which the rest of Climate Camp depends. We stopped in at some charity shops for entertaining cut price CDs on our way northwards, and as we drove towards our swooping point we played the Star Wars theme tune at top volume. Despite our huge truck and noisy scrambling it took the police at least half an hour to arrive, by which time we were able to hold the space and had started erecting tents by torchlight. It did, however, mean that the advertised swoop the next day was a bit of a damp squib, and some of the participants must have felt a bit left out of all the excitement.

Climate Camp 2010-site take
Erecting the first marquees on site by torchlight.

2. Raising a Ruckus
On Friday we held a merry little dance parade around the RBS offices, culminating in an incursion into a conveniently open entrance where we jumped up and down in the doorway whilst security looked bemused and staff gazed down from the floors above. At the same time, unbeknownst to us, a lone activist had infiltrated the offices as a banker and stuck herself to a reception desk, where she berated RBS for agreeing to fund Vedanta’s mining activities on the sacred lands of the Dongria Kondh tribe in India. We later learnt that she had changed her name to Dongria Kondh by deed poll the week before, declaring that she would only change it back if RBS retracted funding. Fortunately it was announced this week that India has blocked the mining operation. Though I quite like Dongria Kondh as a name….

Climate Camp rouser
Climate Camp rouser door
YouTube Preview Image

3. A Lady Gaga tribute: the Dirty Oil dance action
Conscious of Climate Camp’s decision to descend on Scotland without much forethought about how we could support local struggles I volunteered to attend the solidarity demo against a new coal mine at Cousland, but then I was reminded that I had also promised to document my Green Kite Midnight friends’ musical action. Lady Gaga won out in the end. Standing inside a small candy striped marquee we learnt new lyrics to Poker Face, featuring the immortal lines:

It’s getting hot, the planet’s nearly shot
We’ll make them stop, we’re putting up a block

Tar sands is dirty oil
Can’t use my, can’t use my taxes no
To invest in dirty oil

Climate Camp 2010-gaga rehearsal
Climate Camp 2010-Dirty Oil
Rehearsing dance moves and getting ready to leave.

By midday we were ready to take our act to the streets of Edinburgh. With black bin bag bows in hair and fluorescent waistcoats we marched with resolve towards the biggest branch of RBS on St Andrews Square…. to find it already closed. Closed by the threat of song and dance. Score! We then set off on a tour through the town centre, jumping an RBS fringe stage for a special ten minute non-sponsored rendition. You can watch this here. We taught some onlookers the dance moves, bumped into the Greenwash Guerillas en route and handed out loads of leaflets.

Climate Camp 2010-Dirty Oil Gaga
Climate Camp 2010-Dirty Oil Gaga-on steps
Climate Camp 2010-Dirty Oil Gaga-fringe stage
Crowds watch us at the Fringe
Climate Camp 2010-fringe audience
and the Greenwash Guerillas…
Climate Camp 2010-Greenwash Guerillas

4. Sunday site incursion
I knew there were plans afoot but I wasn’t quite prepared for the huge mass of people dancing towards me in white paper boiler suits. And then they carried on dancing their way over the bridge to RBS, pushing the police back with ease and racing around the corner towards an unguarded part of the RBS HQ. When I got there it became apparent that they had completely taken the police by surprise and several windows had been smashed as the morass propelled forward. For a short moment chaos reigned as the police tried and failed to contain the seething crowd (who needs Black Bloc when you’ve got White Bloc, as one twitterer noted) and they were successfully able to de-arrest several people.

RBS site incursion march
RBS site incursion
RBS site invasion tussle
RBS Sunday invasion

Unfortunately this short point of panic enabled the police to gain the upper hand, and if the intention had been to get in and hold the building we had lost the head start. After two arrests there was a brief stand off with police at the bridge and the action petered out, the white garbed frontline on the bridge replaced by a large white fluffy bunny. I kid thee not.

Climate Camp 2010-white bunny

At our evening plenary a dampener was put on the situation almost immediately. Unfortunately the action had been badly timed to coincide with a speech from our visiting tar sands activists, who had felt seriously disrespected by the disruption to their workshop. They were also uncomfortable with the apparent violence of smashing windows, as were a few others. Through skilful facilitation we were able to talk through these issues, with many good points being made that Climate Camp comprises a diverse range of people who use different tactics, and whilst we would never ever condone physical violence against people, corporate property is another matter altogether. All successful direct action campaigns have attacked physical infrastructure, from the Suffragettes to the 1990s road protest movement. Causing infrastructure damage hits a company where it hurts: their pockets.

Climate Camp 2010-meeting
An early site-wide meeting.

We’ve always been very careful with our language, although the media often insists on referring to us as “peaceful” or NVDA (Non Violent Direct Action). In another twist seasoned activists have levelled many criticisms at us over the past few years with regards to us being too media friendly. For many this action proved that we really are capable of doing more than the media stunts and banner drops of recent times. It was also acknowledged that whilst we could sympathise with the feelings of First Nations activists it could not dictate the way that Climate Camp works, and indeed whilst we should work hard at international bonds we should not deify indigenous peoples above our local communities. We finished the meeting with a euphoric group hug that seemed to express: Yes! We are powerful together! We can break through police lines and inflict serious physical damage to a building! With a bit more intent we could have got into the HQ and dug in for the duration: of that I have no doubt.

Climate Camp 2010-serving dinner
Serving dinner at the South Coast neighbourhood.

5. The RBS Trojan Pig leaking molasses outside Cairn Energy offices
At just past 9am I dropped my half drunk tea and ran full tilt out of the cafe where I had been sitting on Lothian Road. Ahead of me a group of people in black ceremoniously carried a large pink pig – eyes painted with the RBS logo – up the impressive granite steps of the offices for Cairn Energy, who received £117 million in loans from RBS last year, some of which helped them to start drilling for oil off the coast of Greenland. Two activists sprayed molasses against the side of the building in decorative swirls as more molasses seeped out of the pig and down the steps. A security guard briefly looked on, but never moved the large pink carcass which was reported later that day as forlornly pushed aside on the steps. Ironically it is only because of climate change and melting ice that Cairn Energy are able to drill in the polar regions as new oil reserves are revealed. By coincidence a Greenpeace ship reached the drill rig on our day of action, where it was met by a Danish warship. It is hoped that lots of activists will join Crude Awakening, a day of mass action against oil supported by Climate Camp on Saturday October 16th in London.

Cairn Trojan Pig parade
Cairn Trojan Pig molasses
YouTube Preview Image

6. Shutting down Nicolson Street branch of RBS
The weather was not kind to us on our main day of action, and getting lost en route to my next destination didn’t help. By just after 10am I was soaked through to the skin. Across the entrance to Nicolson Street RBS three of my friends glued themselves together with green posters pinned to their fronts that said “Ask me why I won’t bank with RBS“. As customers arrived they engaged them in conversation and then let them duck under their arms. With musicians and a small gaggle of Lady Gaga impersonators I went inside to be greeted by an old man grumbling bad-temperedly at the counter. He then proceeded to watch several reprises of the Dirty Oil song and dance routine, by now familiar to all. Next up was a reinvigorated version of the Gloria Gaynor classic I Will Survive, and as we moved outside the police finally arrived. I went to upload some tweets and when I returned journalists and photographers were out in force and the branch had been closed. Later that day another bunch of activists dressed in bin bags and dripping in molasses closed down the same branch.

Climate Camp 2010-Nicholson-RBS
Climate Camp 2010-Nicholson-RBS 2

7. We’ve built a Rhino Siege Tower!
Yes really. At the top of the hill above RBS what looked like a watch tower had risen during the course of the camp, gaining painted corrugated metal sides and a roof. And perhaps best of all a huge paper mache Rhino head attached to it’s derriere. I got back from the mornings actions to find a huge gaggle of people surrounding the tower, all dressed in wonderful outfits, inspired by medieval battle, clowns, animals and pagan dress. And then we waited…. and waited… and joked about slow action being the new slow food movement. Finally, we were ready to roll. The siege tower was on wheels. And with people guiding it via a series of ropes and pulleys it began to inch it’s way around the wind break and down the hill as we all held our breath and prayed that it didn’t topple into the bank of photographers waiting below. This process took about four hours, by which time I’d long since stopped worrying that I would miss anything crucial every time I went to recharge my damn iphone again. Over at the bridge a series of mollassapaults were fired onto the HQ by black clad activists. And then as we finally crawled towards the gate the rain really set in. Dancing animals met lines of riot police and squirted silly string over their heads as the Siege Tower finally cleared a low hanging branch and the rhino headbutted a police van.

Climate Camp Rhino Seige Tower
Climate Camp 2010-scary clown
Climate Camp 2010-Seige Rhino-hits van

I don’t think I’ve ever seen a line of riot cops so bemused. What the hell were we doing? On the side of the tower There Is No Planet B had been painted over at some point during the long journey to say There Is No Plan. My camera decided to complain about the incessant rain. It packed up. I decided to call it a day, and soon so did many soggy others. The Guardian’s live blog had long since stopped reporting on our actions of the day since most of them were done in the morning – including a very brilliant banner drop off the roof of Forth Energy in Leith in protest of a new and huge biomass scheme that would require the mass importation of vast quantities of wood chip.

Climate Camp 2010-Seige Rhino-frontline
Climate Camp 2010-Seige Rhino-sillystring
mollassapault tim morozzo
The mollassapault. Photography by Tim Morozzo.

And so, we didn’t give the mainstream media the huge action they might have liked. Instead we gave them lots of small and effective affinity group actions across Edinburgh and beyond, as planned. Topped off with the most surreal action of them all – a Rhino Siege Tower that effectively closed down the RBS HQ merely through creative farce and the power of suggestion. Sometimes my heart is so full of love for the thing that is Climate Camp that it feels fit to burst.

Climate Camp 2010-Seige Rhino

Other highlights of this years’ camp included a storming ceilidh (apologies to the Scottish for making this word our own) with my band Green Kite Midnight, spoken word from Harry Giles, visits from Fringe comedians Albie Philbin Bowman and Josie Long, and dancing long into the night after our day of action. Despite all the trials and tribulations of being so involved with Climate Camp I can’t wait to see what we come up with next. Even if we didn’t Break the Banks you’ve got to admit it was a damn good slogan, and we’ve successfully managed to highlight the investment of our money in fossil fuels to a far wider public. Now we just need to change the system that encourages wanton consumption of fossil fuels to the wide scale detriment of the only planet we have to live on. Who’s up for helping out?

You can watch lots more of the videos that I took on my Qik channel here.

Climate Camp 2010-Albie Philbin Bowman
Albie Philbin Bowman performs for us.
See some of Josie Long’s performance on this link.

Many other inspiring actions happened across the course of the camp, but these did not include the supposed oil spill on the A8 on Monday morning, as press released by the police. Our targets have always been corporations and the government not innocent people, but isn’t it somehow predictable that the press picked up on the “oil spill” so relentlessly – happy to reel it off as fact without adequate research or proof. More on how the press have related to this year’s Climate Camp in my next blog post here.

Climate Camp 2010-compost loos
A beautiful painted compost loo.
Climate Camp 2010-anarchist baby
Climate Camp 2010-RBS bridge
Climate Camp 2010-bunny

Categories ,Albie Philbin Bowman, ,Cairn Energy, ,Climate Camp, ,coal, ,comedy, ,Cousland, ,Crude Awakening, ,Direct Action, ,dirty oil, ,Dongria Kondh, ,edinburgh, ,Edinburgh Fringe, ,First Nations, ,Gloria Gaynor, ,Green Kite Midnight, ,Greenland, ,Greenpeace, ,Greenwash Guerillas, ,Guardian, ,Harry Giles, ,Josie Long, ,Lady Gaga, ,Nicolson Street, ,NVDA, ,Oily Gaga, ,police, ,Raising a Ruckus, ,Ratcliffe On Soar, ,RBS, ,RBS HQ, ,RBS Trojan Pig, ,Rhino Seige Tower, ,Riot police, ,Royal Bank of Scotland, ,Suffragettes, ,Tar Sands, ,Tim Morozzo, ,twitter, ,Vedanta

Similar Posts:






Amelia’s Magazine | THE NANCYBOY DECADE 1999-2009

thumbemitbloch
Emit Bloch - Dictaphones Vol 1

Creaturemag’s Matt Witt and Emma Tucker recently spent the afternoon talking to lo-fi folk songwriter Emit Bloch. They were kindly invited to his house for a friendly chat about his new album, information pills his influences and his past.

Emit Bloch has recently released an album, viagra 60mgDictaphones Vol 1”. An endearing and off kilter selection of country songs recorded entirely on dictaphone cassette and released by One Little Indian. The album is raw, ampoule uncluttered and accessible, full of inventive lyrical content that contrasts the vintage sound produced by the dictaphone with more modern day references.

Emit grew up on a ranch in Utah before heading to Berkeley, California then more recently making his home in North London. The following interview includes discussion on, amongst other things, Emit’s Dictaphone mash-ups, (rough recordings of well known songs mashed together), his new album, his views on song writing, evolution and a little delve into his past.

That is enough from us, this wonderful encounter is to be discovered in the following videos.

View the rest of this interview on You tube using the following links:

Emit Bloch interview – pt2 – Dictaphones Vol1
Emit Bloch interview – pt3 – Emit on songwriting
Emit Bloch interview – pt4 – Emit on evolution
Emit Bloch interview – pt5 – Emit on his past

Or check it out on Creaturemag… www.creaturemag.com

We hope you enjoy the show!

I’ve never been to the Book Club before, information pills it’s a nice place you know; high ceilings, visit this exposed brickwork, viagra buy excitingly erratic cone shaped lampshades.
On your left as you come in there’s a load of pot plants stuck to the wall like they are hovering there. Opposite and tucked away behind the door currently is Nancyboy aka Stuart Semple’s self portrait bearing the legend:

CONCRETE FOR THE BOYS
PILLOWS FOR THE GIRLS
THIS IS THE REAL WORLD
NOTHING IS TRUE

Somewhere in the territory between Banksy and Basquiat, the Nancyboy paintings collected here say everything about nothing, or nothing about everything, depending on which way you prefer it.
The paintings are a mashup of cultural and personal references, littered with bittersweet cynical catchphrases and copywrite symbols; cartoon characters, collage, self deprecating and esoteric test. Also, a pair of wonder pants. In a perfect reflection of the high end cultural recycling aesthetic of the work, curator Liat Chen was wearing a fabulous dress previously owned by Lady Gaga.
The tagline to the exhibition is “a retrospective of early works by a leading cultural phenomenon” and I think that says it really, it’s the story behind these paintings that’s really on show. Klaus Bruecker, who I met at the Pop up Pirates launch last month (after Amelia went home) was one of the earliest collectors of Nancyboy paintings on ebay way back in the heady nineties. More recently imagine his surprise when he realised the artist was in fact living in the same building as him!

Stuart Semple has done a lot of things as an artist, in the real life artworld that is, like sneak a painting into Saatchi Gallery, and be a real artist who’s critically acclaimed and stuff. But I think this show is more about his presence in the less artworld world, if that makes sense. “He got me into collecting, he got a lot of different people from lots of different backgrounds collecting.” Says Klaus. Because in the early noughties everything seemed possible and local on the internet, we were more aware of the smallness of the new connected world. Nancyboy launched his e-art career in 2000, and went on to sell over 3000 works exclusively on ebay. His work attracted much attention, celebrity collectors and spawned many imitators, combining his pop and urban decay aesthetic to express their own cultural angst in what has been called a pre-emptive movement to ‘Urban Art’.

These days every sensible artist on the make works hard on their web presence, and anyone looking to buy some great value beautiful art barely has to stretch their mousclicking finger beyond the front page of websites like etsy and society6. But even now it’s still possible to make amazing connections and to grow chance encounters into new interests and audiences. Like in the real world I guess.

The paintings here are not that different from the blog output of a witty teenager. They remind me quite a lot of the work I used to love on www.themanwhofellasleep.com when I was doing my A-levels, and also of Athena posters. Those are my circular cultural references, real pop art should do that I think; remind us infinitely of ourselves. Being an institution is not easy though. It takes love and it takes A LOT of work. The works brought together at The Book Club by the Nancyboy community are obviously loved and valued. These are not the high-profile works that have been in the big shows. These are the ebay artworks, from the homes of real humans.
And I hope what it means is that high flying pop artists don’t have to lose their roots. That all the little little art communities all over the world in small towns and small webspaces that no-one else knows about matter, and are all a part of the bigger dialogue of art forever. And at the same time are nothing, and your life work is just your hobby. One of Nancyboy’s paintings calls his standing into question:
FRANKLY, I Question it’s Honesty + Doubt it’s Art.

In September I’m going back to school to qualify as an art teacher. I think I will tell my students about Nancyboy. Because it’s important, not that anyone can make it, because that’s obviously not true. And not that they can do the same, because they never can. Each artist makes their own new path. The Nancyboy
decade saw the world change forever, and he was there watching, and commenting, and selling his paintings on Ebay. That’s what’s important.

Categories ,banksy, ,Basquiat, ,exhibition, ,Lady Gaga, ,nancyboy, ,Pop Up Pirates, ,Stuart Semple, ,The Book Club

Similar Posts:






Amelia’s Magazine | THE NANCYBOY DECADE 1999-2009

I’ve never been to the Book Club before, it’s a nice place you know; high ceilings, exposed brickwork, excitingly erratic cone shaped lampshades.
On your left as you come in there’s a load of pot plants stuck to the wall like they are hovering there. Opposite and tucked away behind the door currently is Nancyboy aka Stuart Semple’s self portrait bearing the legend:

CONCRETE FOR THE BOYS
PILLOWS FOR THE GIRLS
THIS IS THE REAL WORLD
NOTHING IS TRUE

Somewhere in the territory between Banksy and Basquiat, the Nancyboy paintings collected here say everything about nothing, or nothing about everything, depending on which way you prefer it.
The paintings are a mashup of cultural and personal references, littered with bittersweet cynical catchphrases and copywrite symbols; cartoon characters, collage, self deprecating and esoteric test. Also, a pair of wonder pants. In a perfect reflection of the high end cultural recycling aesthetic of the work, curator Liat Chen was wearing a fabulous dress previously owned by Lady Gaga.
The tagline to the exhibition is “a retrospective of early works by a leading cultural phenomenon” and I think that says it really, it’s the story behind these paintings that’s really on show. Klaus Bruecker, who I met at the Pop up Pirates launch last month (after Amelia went home) was one of the earliest collectors of Nancyboy paintings on ebay way back in the heady nineties. More recently imagine his surprise when he realised the artist was in fact living in the same building as him!

Stuart Semple has done a lot of things as an artist, in the real life artworld that is, like sneak a painting into Saatchi Gallery, and be a real artist who’s critically acclaimed and stuff. But I think this show is more about his presence in the less artworld world, if that makes sense. “He got me into collecting, he got a lot of different people from lots of different backgrounds collecting.” Says Klaus. Because in the early noughties everything seemed possible and local on the internet, we were more aware of the smallness of the new connected world. Nancyboy launched his e-art career in 2000, and went on to sell over 3000 works exclusively on ebay. His work attracted much attention, celebrity collectors and spawned many imitators, combining his pop and urban decay aesthetic to express their own cultural angst in what has been called a pre-emptive movement to ‘Urban Art’.

These days every sensible artist on the make works hard on their web presence, and anyone looking to buy some great value beautiful art barely has to stretch their mousclicking finger beyond the front page of websites like etsy and society6. But even now it’s still possible to make amazing connections and to grow chance encounters into new interests and audiences. Like in the real world I guess.

The paintings here are not that different from the blog output of a witty teenager. They remind me quite a lot of the work I used to love on www.themanwhofellasleep.com when I was doing my A-levels, and also of Athena posters. Those are my circular cultural references, real pop art should do that I think; remind us infinitely of ourselves. Being an institution is not easy though. It takes love and it takes A LOT of work. The works brought together at The Book Club by the Nancyboy community are obviously loved and valued. These are not the high-profile works that have been in the big shows. These are the ebay artworks, from the homes of real humans.
And I hope what it means is that high flying pop artists don’t have to lose their roots. That all the little little art communities all over the world in small towns and small webspaces that no-one else knows about matter, and are all a part of the bigger dialogue of art forever. And at the same time are nothing, and your life work is just your hobby. One of Nancyboy’s paintings calls his standing into question:
FRANKLY, I Question it’s Honesty + Doubt it’s Art.

In September I’m going back to school to qualify as an art teacher. I think I will tell my students about Nancyboy. Because it’s important, not that anyone can make it, because that’s obviously not true. And not that they can do the same, because they never can. Each artist makes their own new path. The Nancyboy
decade saw the world change forever, and he was there watching, and commenting, and selling his paintings on Ebay. That’s what’s important.

Categories ,banksy, ,Basquiat, ,exhibition, ,Lady Gaga, ,nancyboy, ,Pop Up Pirates, ,Stuart Semple, ,The Book Club

Similar Posts:






Amelia’s Magazine | The Canine Games 2012 Illustrated

thecaninegames-by-Nanae-Kawahara
The Canine Games by Nanae Kawahara.

Last Saturday east London hosted the very first Canine Games, a chaotic mishmash of dog parade, craft stalls and musical entertainment. Due to the recent heavy rain it was decided to host the doggy counterpart to the Olympics inside the Bethnal Green Working Mens Club – a decision that soon became rather difficult to manage. Just think dozens of slightly confused dogs in fancy dress and their owners all squashed into a tiny venue: the dog show just wasn’t going to work within these four walls.

the canine games july 2012
the canine games july 2012
the canine games july 2012
the canine games july 2012
the canine games july 2012
All photography by Amelia Gregory.

Luckily the weather held for a bit and the decision was made to relocate temporarily to the patch of grass over the road. There the competitive element of the day was held, with awards going to various genres of dog: my favourite trophy went to a chihuahua dressed up as Lady Gaga in the celebrity look alike section, which included a number of arbitrary competitors, including an entrant who looked like Frank Sinatra ‘cos he’s got blue eyes’.

the canine games july 2012
the canine games july 2012
the canine games july 2012
the canine games july 2012
the canine games july 2012
the canine games july 2012
the canine games july 2012
the canine games july 2012
the canine games july 2012
the canine games july 2012
the canine games july 2012
the canine games july 2012
the canine games july 2012
the canine games july 2012
the canine games july 2012
The Hackney Secular Singers serenaded the ‘Best Punk Dog‘ section, and then the skies opened again so everyone retreated indoors once more and I trundled off to look at the graduate exhibitions. Despite the weather there was a magnificent turnout so let’s hope it becomes a regular affair. In the meantime: enjoy these illustrations of The Canine Games (I wonder what happened to the Olympics inspired events?!)

Canine Games by Polly Stopforth
Canine Games by Polly Stopforth.

gaga-chihuahua-by-jessica-knight
Gaga Chihuahua by Jessica Knight.

Canine Games by Lorna Scobie
Canine Games by Lorna Scobie
Canine Games by Lorna Scobie
Canine Games by Lorna Scobie
Canine Games by Lorna Scobie.

The Canine Games by Nat Griffin
The Canine Games by Nat Griffin
The Canine Games by Nat Griffin
The Canine Games by Nat Griffin.

The Canine Games by Alice Hair
The Canine Games by Alice Hair.

The Canine Games by Sam Parr
The Canine Games by Sam Parr.

Rutabaga by Jo Chambers
Valentino by Jo Chambers
Rutabaga and Valentino by Jo Chambers.

Pixel by Jo Chambers
Pooch In Pucci by  Jo Chambers
Rob In Tie Dye by Jo Chambers
Pixel, Pooch In Pucci & Rob In Tie Dye by Jo Chambers.

Categories ,2012, ,Alice Hair, ,Bethnal Green Working Mens Club, ,Dog Parade, ,Dogs, ,East London, ,frank sinatra, ,Hackney Secular Singers, ,Jessica Knight, ,Jo Chambers, ,Lady Gaga, ,Lorna Scobie, ,Nanae Kawahara, ,Nat Griffin, ,Olympics, ,Polly Stopforth, ,Sam Parr, ,Studio Legohead, ,The Canine Games

Similar Posts:






Amelia’s Magazine | The Canine Games 2012 Illustrated

thecaninegames-by-Nanae-Kawahara
The Canine Games by Nanae Kawahara.

Last Saturday east London hosted the very first Canine Games, a chaotic mishmash of dog parade, craft stalls and musical entertainment. Due to the recent heavy rain it was decided to host the doggy counterpart to the Olympics inside the Bethnal Green Working Mens Club – a decision that soon became rather difficult to manage. Just think dozens of slightly confused dogs in fancy dress and their owners all squashed into a tiny venue: the dog show just wasn’t going to work within these four walls.

the canine games july 2012
the canine games july 2012
the canine games july 2012
the canine games july 2012
the canine games july 2012
All photography by Amelia Gregory.

Luckily the weather held for a bit and the decision was made to relocate temporarily to the patch of grass over the road. There the competitive element of the day was held, with awards going to various genres of dog: my favourite trophy went to a chihuahua dressed up as Lady Gaga in the celebrity look alike section, which included a number of arbitrary competitors, including an entrant who looked like Frank Sinatra ‘cos he’s got blue eyes’.

the canine games july 2012
the canine games july 2012
the canine games july 2012
the canine games july 2012
the canine games july 2012
the canine games july 2012
the canine games july 2012
the canine games july 2012
the canine games july 2012
the canine games july 2012
the canine games july 2012
the canine games july 2012
the canine games july 2012
the canine games july 2012
the canine games july 2012
The Hackney Secular Singers serenaded the ‘Best Punk Dog‘ section, and then the skies opened again so everyone retreated indoors once more and I trundled off to look at the graduate exhibitions. Despite the weather there was a magnificent turnout so let’s hope it becomes a regular affair. In the meantime: enjoy these illustrations of The Canine Games (I wonder what happened to the Olympics inspired events?!)

Canine Games by Polly Stopforth
Canine Games by Polly Stopforth.

gaga-chihuahua-by-jessica-knight
Gaga Chihuahua by Jessica Knight.

Canine Games by Lorna Scobie
Canine Games by Lorna Scobie
Canine Games by Lorna Scobie
Canine Games by Lorna Scobie
Canine Games by Lorna Scobie.

The Canine Games by Nat Griffin
The Canine Games by Nat Griffin
The Canine Games by Nat Griffin
The Canine Games by Nat Griffin.

The Canine Games by Alice Hair
The Canine Games by Alice Hair.

The Canine Games by Sam Parr
The Canine Games by Sam Parr.

Rutabaga by Jo Chambers
Valentino by Jo Chambers
Rutabaga and Valentino by Jo Chambers.

Pixel by Jo Chambers
Pooch In Pucci by  Jo Chambers
Rob In Tie Dye by Jo Chambers
Pixel, Pooch In Pucci & Rob In Tie Dye by Jo Chambers.

Categories ,2012, ,Alice Hair, ,Bethnal Green Working Mens Club, ,Dog Parade, ,Dogs, ,East London, ,frank sinatra, ,Hackney Secular Singers, ,Jessica Knight, ,Jo Chambers, ,Lady Gaga, ,Lorna Scobie, ,Nanae Kawahara, ,Nat Griffin, ,Olympics, ,Polly Stopforth, ,Sam Parr, ,Studio Legohead, ,The Canine Games

Similar Posts:






Amelia’s Magazine | Reading Festival 2010 Round Up


Mumford & Sons illustration by Lana Hughes

5. Mumford & Sons
Mumford & Sons have had a special piece in my heart for a couple of years now. Having played their debut to death and enjoyed their live shows just as much, ampoule the band never fail to disappoint. When they arrived at the NME/Radio 1 Tent they packed out the space and the surrounding areas had hundreds of fans trying to capture the performance.

Despite not being able to see the band or even hear them over the crowd singing along, shop I still had hairs on my neck shooting up. I felt quite proud of the most modest band around who could not have put more effort in. They were made for moments like this. ‘Little Lion Man’ had never sounded so perfect and the new songs were greeted with the same enthusiasm from the crowd.


Weezer illustration by Natsuki Otani

4. Weezer
Sunday evening, abortion there was a chill in the air, ‘nu metal’ pioneers Limp Bizit had been and gone, the heavy rain had done the same. American geek rockers Weezer brought the sun to the main-stage along with a greatest hits set. They are a band I would never choose the listen to but I wouldn’t turn them off either.

Along with the classics, ‘Buddy Holly’, ‘Hash Pipe’ and ‘Beverly Hills’ the old timers covered Wheatus’ ‘Teenage Dirtbag’, MGMT’s ‘Kids’ and Lady GaGa’s ‘Pokerface’ where energetic front-man Rivers Cuomo sported a blonde wig whilst rolling about in the mud.


Mystery Jets illustration by Antonia Makes

3. Mystery Jets
Mystery Jets have been knocking about for sometime now with a collection of pop songs that would give Simon Cowell’s song-writing team a fright. Today wasn’t just about the hits, it was to see if the band could work main-stage after a few appearances on the smaller ones previously.

Not only did they get some sing-a-longs from the crowd but also got them dancing when Count & Sinden joined the band to play the party tune of the year, ‘After Dark’. It wasn’t just the stage that the band controlled as the lively band members spent a decent about of time amongst the crowd too.


The Libertines illustrated by Abi Daker

2. The Libertines
2002, the NME. Radio 1 Tent saw Peter Doherty, Carl Barat, John Hassall and Gary Powell play their only Reading Festival together. Since then The Libertines have performed twice without Peter, and since the group disbanded six years ago they have all appeared under different guises.

The main-stage witnessed the band play just their forth gig since their recent reformation. It was professional and energetic. I don’t think I have ever seen the band play that well; they meant business. Talk was kept to a minimum whilst thrashing out tune after tune, they were unfazed when they had to have a quick break whilst the crowd calmed down. A tear was shed when Pete and Carl, hugged and kissed onstage, I had been waiting too long for that moment.


Libertines illustration by Miss Pearl Grey aka Kellie B.


Arcade Fire, illustration by Jenny Robins.

1. Arcade Fire
It was Arcade Fire’s last Reading Festival performance that really won me over. Win Butler lead the seven piece on a emphatic set that included songs from all three records but it was the material from their latest, The Suburbs that really had the wow factor. Words struggle to some up this performance, it was more than just music, more like a religion.

Many thanks to our illustrators. Thumbnail illustration of Weezer by Julie Lee

Categories ,Arcade Fire, ,Carl Barat, ,gig, ,Lady Gaga, ,Live Review, ,Mumford& Sons, ,Mystery Jets, ,Pete Doherty, ,Reading 2010, ,Reading Festival, ,Rivers Cuomo, ,The Libertines, ,Weezer

Similar Posts:






Amelia’s Magazine | The Fantastic Patrick Wolf

thumbnail ross crawford TFL-PENNY
You don’t have long left to visit the Cycling in London Exhibition at the London Transport Museum!

mark taplin cycling

Bike by Mark Taplin

Sorry about that, click it is in the listings, possibly you are even reading this after the exhibition has closed in which case HELLO IN THE FUTURE (look out for flying cars, in the London Transport Museum, which would be the appropriate place, just don’t pay the £10 entrance fee in hope of seeing illustrations if they have already gone.)

This is the second collaborative competition venture the Association of Illustrators and the Museum have undertaken. Due to some factors, possibly such as their acquiring of a twitter account since last year this one was considerably more competitive than the last. I have it from the actual woman whose job it was to count them that there were over 3000 entries for the 50 places in the exhibition. Am I still a little bitter that I didn’t get in? Only a little, as the standard of the work that did get in is in general very high indeed.

kevin ward cycling

Life cycles by Kevin Ward

It’s a beautiful show that really exemplifies the amazing wealth and variety of Illustration talent around. Not all of the work was to my taste but given the breadth of styles included that’s not really surprising; the AOI on typically excellent form at celebrating the medium.

Amidst the variety of work from established and unknown artists some trends are discernable; many illustrators have worked in animals either using the London Zoo as an iconic destination or including pigeons or dogs to help out with the green association as this is after all an exhibition exonerating the environmental benefits of cycling in the city (woo – go bikes).

Some pieces like Jove’s beautifully designed utopian poster, Jessid Ford’s gorgeous graphic colours ‘A to B and all the sights in between’ print and Mark Taplin’s lovely single colour classic screen print style image echo the classic transport posters which the London Transport Museum has long loved and displayed and sold on postcards.

Courtney Lee Boardmay cyclingthe only way to see London by Courtney Lee

Although this was my first visit to the Museum it does seem to have this dual personality. The visiting tourist children who must surely be its main market come for the fun interactive displays, the chance to get photographed driving a routemaster, and apparently the chance to run around and collect holes punched in a gotta catch em all style transport treasure trail. A brand new Boris Bicycle is the centrepiece in the tucked away gallery space where the show is housed and while I was there families and older children in groups often came in, checked off the bike on their list and left again with not more than a passing glance at the art on the walls.

I hope there are people like me and the other lone visitor giving a significant amount of time to the exhibition that also come to the Museum for its other angle – the amazing wealth it has in its association with artists both in projects like Cycling in London and other initiatives like art on the underground which has been going for years and features inspiring new art on underground station walls and in their outstanding collection of classic advertising posters which London Transport has commissioned over the decades. Many of these can be seen adorning souvenirs and postcards in the Museum shop – which happily can be accessed without paying the entrance fee. Perhaps more people would be likely to see this exhibition if it could be accessed separately from the Museum proper at a reduced fee.

rachel lillie leaf

Rachel Lillie’s first prize winning entry

Perhaps they could have also chosen a different image other than the winning illustration to use on their posters advertising the show which have been well spread across the city. I don’t wish to say anything against the judges choice or Rachel Lillie’s beautiful piece but as an eye catching image with a wide appeal I think there were many pieces in the show that would have been a better choice.
Evgenia Barinova’s awesome striking poster like piece on wood for example which dominates the far end of the room with its inspirational message ‘if Super Heroes couldn’t fly they’d ride a Bike!’ or Laura Callaghan’s fantastically serene flying cyclists setting a joyful example and clearly having more fun than their tube riding counterparts.

Laura Callaghan

Freewheel by Laura Callaghan

There are things that make illustration itself, rather than fine art, and things that make it great. Looking at their selection of winners the AOI clearly are big fans of the medium’s capacity for a sort of dualistic immediacy – a leaf which is also a map, an aerial view which is also a bicycle and nature and cyclists incorporated into a beautiful decorative inclusive layout in the tradition of a William Morris wallpaper. (I’d quite like a Mia Nilsson wallpaper actually – anyone from Habitat buying reading?). They seem to have favoured visual sense and simple dense colour over drawing or realism. This is an ideal in illustration that I think some people seem to put on a bit of a pedestal but as I said before it is far from the only style on show.

amelia's magazine - AOI - Mia Nilssonclose up of Mia Nillson‘s winning artwork

Another quality of illustration – it’s relationship with and commentary on popular culture is also much in evidence here; Jamie Wieck’s hilarious the joy of cycling being an obvious standout with subtler cultural references in Patrick O’leary’s mods on push bikes instead of scooters and Ross Crawford’s lovely cockney rhyming poster combining the classic and bang up to date cultural takeoff (blessedly does not actually include the over used ‘keep calm and…’). ‘Many Artists Who Do One Thing’s awesome circus graffiti style poster is cheeky but to the point – cycling is fun, and a little bit revolutionary.

jamie wieck joy-of-cycling-2The Joy of Cycling by Jamie Wieck

ross crawford TFL-PENNYLook after your Jam tart by Ross Crawford

Also present are our gorgeous children’s book style contingent with their universal appeal; Kevin Ward’s fantastic animal charactrers in retro colours(?) and Courtney Lee Bourdman’s happy happy tourists on their double decker bicycle bus (clearly uniting the Museum’s selling points perfectly); Catherine Denvir combines digital techniques for a more tongue in cheek surreal childish quality.

ignat reljic bicylclingSpeed Cycling by IGnjat Reljic Djuric

The strong classic illustrative style of simple expressive drawing is exemplified by Ignjat Reljic Djuric’s perfectly balanced piece where the cyclist seems like a plucky underdog to the epic red buildings; old favourite Belle Mellor provides a fantastically idiosyncratic interpretation although not the only illustrator to use London landmarks as hats (make of that what you will) – David Hughes also does this with as ever lovely ink lettering and layout. Judit Ferencz’s hand drawn image makes excellent use of space and Alex Bitskoff also uses layout magnificently (although not simply) with his richly coloured city wave erupting into the clean environmental space.

judit ferencz leisurely

allways leisurely with Bicycle by Judit Ferencz

One of the things I like about illustration is that in this medium quick simple execution and epic complex work are equally as valid. What matters in an illustration is the impact and the joy and the communication. And illustrators can be amazingly skilled at thinking of new conceptual and exciting ways of presenting the same idea – their bread and butter work is often sexing up the figures in business magazines after all. Some of these pieces clearly got in to the final 50 for the idea used, others for the execution.

amelias magazine - jenny robins - cycling

what’s that? you’ve snuck in your own unsuccesful entry to the competition Jenny Robins? cheeky bint.

I’ve not even talked about my very favourite school of illustration present in Cycling in London! – I love me some collage and there are fantastic examples in the work of Alison Bell whose lovely retro collage and print techniques clearly echoes the recent Varoom feature on the resurgence of the medium (how could they not include it then?); Lianne Harrison makes cool creepy bus-stop characters and Tracy Long’s tiny magazine faces on fancifull animal cyclists stole my heart, although I don’t think St Paul’s in the background adds anything. I imagine she added it to fit the brief about Cycling in London but looking at what else has got through I think she could have got away without it.

lianne harrison cycling

Goodbye to the Hustle and Bustle by Lianne Harrison

Tracey Long 222303_eye-eye-cycle-round-londonEye Eye around London by Tracy Long’

I was running out of time before closing but just had time to check out Georgina Brookes’ awesome cutouty graphic layering and Clayton Junior’s ace layout and colours employing a classic illustration immediate impact swap technique.

I had to leave through a secret staircase and the Museum employee waiting to lock up behind me smiled beautifully saying “interesting exhibition isn’t it?”
Well yes, it most definitely is, but the wording of the comment shows the attitude that this is something unusual is still the norm. I go to more illustration exhibitions than fine art ones, and in this world it’s easy to forget that to most people it’s still a bit of a non-concept. (you’re an illustrator eh? Cartoons? No? Book covers then? – sound familiar?) And good on the LTM for putting on projects like this but the way it’s presented on the posters and tucked away at the back of the museum still seem to me to reinforce it’s esotericness. Which is just a little sad. But let’s not end on a down note. Maybe illustration is like the poor relation of art – but is not the bicycle the poor relation of the car? And which is cooler, greener more, you know, government endorsed? On your bike kids.
You don’t have long left to visit the Cycling in London Exhibition at the London Transport Museum!

mark taplin cycling

Bike by Mark Taplin

Sorry about that, it is in the listings, link possibly you are even reading this after the exhibition has closed in which case HELLO IN THE FUTURE (look out for flying cars, visit web in the London Transport Museum, which would be the appropriate place, just don’t pay the £10 entrance fee in hope of seeing illustrations if they have already gone.)

This is the second collaborative competition venture the Association of Illustrators and the Museum have undertaken. Due to some factors, possibly such as their acquiring of a twitter account since last year this one was considerably more competitive than the last. I have it from the actual woman whose job it was to count them that there were over 3000 entries for the 50 places in the exhibition. Am I still a little bitter that I didn’t get in? Only a little, as the standard of the work that did get in is in general very high indeed.

kevin ward cycling

Life cycles by Kevin Ward

It’s a beautiful show that really exemplifies the amazing wealth and variety of Illustration talent around. Not all of the work was to my taste but given the breadth of styles included that’s not really surprising; the AOI on typically excellent form at celebrating the medium.

Amidst the variety of work from established and unknown artists some trends are discernable; many illustrators have worked in animals either using the London Zoo as an iconic destination or including pigeons or dogs to help out with the green association as this is after all an exhibition exonerating the environmental benefits of cycling in the city (woo – go bikes).

Some pieces like Jove’s beautifully designed utopian poster, Jessid Ford’s gorgeous graphic colours ‘A to B and all the sights in between’ print and Mark Taplin’s lovely single colour classic screen print style image echo the classic transport posters which the London Transport Museum has long loved and displayed and sold on postcards.

Courtney Lee Boardmay cyclingthe only way to see London by Courtney Lee

Although this was my first visit to the Museum it does seem to have this dual personality. The visiting tourist children who must surely be its main market come for the fun interactive displays, the chance to get photographed driving a routemaster, and apparently the chance to run around and collect holes punched in a gotta catch em all style transport treasure trail. A brand new Boris Bicycle is the centrepiece in the tucked away gallery space where the show is housed and while I was there families and older children in groups often came in, checked off the bike on their list and left again with not more than a passing glance at the art on the walls.

I hope there are people like me and the other lone visitor giving a significant amount of time to the exhibition that also come to the Museum for its other angle – the amazing wealth it has in its association with artists both in projects like Cycling in London and other initiatives like art on the underground which has been going for years and features inspiring new art on underground station walls and in their outstanding collection of classic advertising posters which London Transport has commissioned over the decades. Many of these can be seen adorning souvenirs and postcards in the Museum shop – which happily can be accessed without paying the entrance fee. Perhaps more people would be likely to see this exhibition if it could be accessed separately from the Museum proper at a reduced fee.

rachel lillie leaf

Rachel Lillie’s first prize winning entry

Perhaps they could have also chosen a different image other than the winning illustration to use on their posters advertising the show which have been well spread across the city. I don’t wish to say anything against the judges choice or Rachel Lillie’s beautiful piece but as an eye catching image with a wide appeal I think there were many pieces in the show that would have been a better choice.
Evgenia Barinova’s awesome striking poster like piece on wood for example which dominates the far end of the room with its inspirational message ‘if Super Heroes couldn’t fly they’d ride a Bike!’ or Laura Callaghan’s fantastically serene flying cyclists setting a joyful example and clearly having more fun than their tube riding counterparts.

Laura Callaghan

Freewheel by Laura Callaghan

There are things that make illustration itself, rather than fine art, and things that make it great. Looking at their selection of winners the AOI clearly are big fans of the medium’s capacity for a sort of dualistic immediacy – a leaf which is also a map, an aerial view which is also a bicycle and nature and cyclists incorporated into a beautiful decorative inclusive layout in the tradition of a William Morris wallpaper. (I’d quite like a Mia Nilsson wallpaper actually – anyone from Habitat buying reading?). They seem to have favoured visual sense and simple dense colour over drawing or realism. This is an ideal in illustration that I think some people seem to put on a bit of a pedestal but as I said before it is far from the only style on show.

amelia's magazine - AOI - Mia Nilssonclose up of Mia Nillson‘s winning artwork

Another quality of illustration – it’s relationship with and commentary on popular culture is also much in evidence here; Jamie Wieck’s hilarious the joy of cycling being an obvious standout with subtler cultural references in Patrick O’leary’s mods on push bikes instead of scooters and Ross Crawford’s lovely cockney rhyming poster combining the classic and bang up to date cultural takeoff (blessedly does not actually include the over used ‘keep calm and…’). ‘Many Artists Who Do One Thing’s awesome circus graffiti style poster is cheeky but to the point – cycling is fun, and a little bit revolutionary.

jamie wieck joy-of-cycling-2The Joy of Cycling by Jamie Wieck

ross crawford TFL-PENNYLook after your Jam tart by Ross Crawford

Also present are our gorgeous children’s book style contingent with their universal appeal; Kevin Ward’s fantastic animal charactrers in retro colours(?) and Courtney Lee Bourdman’s happy happy tourists on their double decker bicycle bus (clearly uniting the Museum’s selling points perfectly); Catherine Denvir combines digital techniques for a more tongue in cheek surreal childish quality.

ignat reljic bicylclingSpeed Cycling by IGnjat Reljic Djuric

The strong classic illustrative style of simple expressive drawing is exemplified by Ignjat Reljic Djuric’s perfectly balanced piece where the cyclist seems like a plucky underdog to the epic red buildings; old favourite Belle Mellor provides a fantastically idiosyncratic interpretation although not the only illustrator to use London landmarks as hats (make of that what you will) – David Hughes also does this with as ever lovely ink lettering and layout. Judit Ferencz’s hand drawn image makes excellent use of space and Alex Bitskoff also uses layout magnificently (although not simply) with his richly coloured city wave erupting into the clean environmental space.

judit ferencz leisurely

allways leisurely with Bicycle by Judit Ferencz

One of the things I like about illustration is that in this medium quick simple execution and epic complex work are equally as valid. What matters in an illustration is the impact and the joy and the communication. And illustrators can be amazingly skilled at thinking of new conceptual and exciting ways of presenting the same idea – their bread and butter work is often sexing up the figures in business magazines after all. Some of these pieces clearly got in to the final 50 for the idea used, others for the execution.

amelias magazine - jenny robins - cycling

what’s that? you’ve snuck in your own unsuccesful entry to the competition Jenny Robins? cheeky bint.

I’ve not even talked about my very favourite school of illustration present in Cycling in London! – I love me some collage and there are fantastic examples in the work of Alison Bell whose lovely retro collage and print techniques clearly echoes the recent Varoom feature on the resurgence of the medium (how could they not include it then?); Lianne Harrison makes cool creepy bus-stop characters and Tracy Long’s tiny magazine faces on fancifull animal cyclists stole my heart, although I don’t think St Paul’s in the background adds anything. I imagine she added it to fit the brief about Cycling in London but looking at what else has got through I think she could have got away without it.

lianne harrison cycling

Goodbye to the Hustle and Bustle by Lianne Harrison

Tracey Long 222303_eye-eye-cycle-round-londonEye Eye around London by Tracy Long’

I was running out of time before closing but just had time to check out Georgina Brookes’ awesome cutouty graphic layering and Clayton Junior’s ace layout and colours employing a classic illustration immediate impact swap technique.

I had to leave through a secret staircase and the Museum employee waiting to lock up behind me smiled beautifully saying “interesting exhibition isn’t it?”
Well yes, it most definitely is, but the wording of the comment shows the attitude that this is something unusual is still the norm. I go to more illustration exhibitions than fine art ones, and in this world it’s easy to forget that to most people it’s still a bit of a non-concept. (you’re an illustrator eh? Cartoons? No? Book covers then? – sound familiar?) And good on the LTM for putting on projects like this but the way it’s presented on the posters and tucked away at the back of the museum still seem to me to reinforce it’s esotericness. Which is just a little sad. But let’s not end on a down note. Maybe illustration is like the poor relation of art – but is not the bicycle the poor relation of the car? And which is cooler, greener more, you know, government endorsed? On your bike kids.

Illustration by Farzeen Jabbar

When you think of visually aware musicians, medical the likes Madonna, seek David Bowie, Grace Jones and Prince come to mind. Although the success of their lengthy careers is more likely to be because of their ever changing musical styles, their evolving image played a huge part in their rise to success, defining eras along the way. Today, Lady GaGa is one of the only pop stars who puts as much thought and time into her image. Thing is, what she gets applauded for, Patrick Wolf wore six months earlier and was mostly ridiculed.

South London, 1983, and Patrick Apps was born into a creative family. An awkward childhood, where he sued his All-boys school for failing to deal with persistent bullying due to him being ‘too feminine’. He spent his evenings amongst drag queens in Soho clubs and joined the art collective Minty. Living in these two completely different worlds helped the confused and lost boy determined to prove his doubters. Using the winnings from the court case he bought a piano and left home, aged sixteen with no qualifications but a dream of pop stardom. Patrick Wolf was born. Each album has seen a new Patrick Wolf, not just musically but also in looks and personality. 

Aged twenty he finally got what he had been battling for, a record deal. Debut album, Lycanthropy was a showcase record covering every side of the singer as well as songs that he had written in his early teens. The record struggled to grab attention but he wasn’t going to give up. During this period he sported bleach blonde hair (a look he would go back to later in his career) and became some sort of anti-fashion hero as he dressed in charity shop attire.  
After a two-year struggle things began to look-up as his second album, Wind In The Wires grabbed attention from the right places. After the previous couple of years, Patrick had become a lot darker – visually at least. Gone was the blonde mop; a lengthier black cut arrived with a mysterious British look took place. The singer hid behind his fringe shyly and the flamboyance of his youth had gone. 


Illustration by Faye West

2007 arrived with the biggest chance for Patrick to become the pop star he dreamt of becoming. After building up a loyal fan-base and with two critically acclaimed records under his belt, he signed away his life to major label Universal. Although they gave him a big budget to record his most mainstream-viable material on The Magic Position he was forced into things he didn’t want to do and lost his freedom. Arriving with this upbeat record came dyed red hair, a lot of glitter and clothes designed by up-and-coming London designers riding the waves of the ‘new rave’ movement. The colourful character become victim of the paparrazi whilst falling out of nightclubs with the likes of Peaches Geldof and new friend Agyness Deyn, who he also modelled with on the Burberry campaign along with fellow musicians including Edward Larrikin. A turbulent and chaotic couple of years followed which almost broke him but he came out of it and learnt a lot. 

There were dark sides in this period where he dabbled with drugs and his sexuality, which gave him both a journey to be told in his fourth album, The Bachelor, and a new image. The peroxide hair was back but this time, showing power rather than vulnerability, partnered with bondage attire that included lots of leather. The lost boy had grown into a man aiming to shock with his punk attitude, but in today’s world he didn’t shock, he was just ignored. During his gigs for this album he had costume changes that included huge shoulder pads, hedgehog-esq spikes, high-heels and the Madonna inspired headset. Pretty soon afterwards, the fashion world were obsessing over Lady GaGa who took the same look but with a bigger budget. This period in Patrick’s life and career concluded in a spectacular show that took place at the London Palladium in November 2009 where he put every effort into making this memorable. 


Illustration by Krister Selin

That was the last ‘proper’ gig he played until he performed at West London’s Bush Hall this month which was a much more intimate affair. As he had been hidden away recording the follow-up to last years The Bachelor, it was unclear which of Patrick’s personalities would show up and what direction his music would take.. 
The sold out crowd that included everybody from sixteen year old girls to sixty year old men waited in anticipation to see what was in-store next. As his band arrived on-stage, suited and booted, Patrick followed looking equally smart with a new short dark hair-cut and a suit jacket, under which was a polka-dot jumpsuit…obviously. Although there was no new material, this set included tracks from all four albums. He played with a smile on his face and spoke with honesty in between songs apologising for his behaviour in The Magic Position period. He seemed generally embarrassed about his past and ‘selling his soul’ when modelling for Burberry, or Primark as he claimed as it was just to pay his rent. 


Illustration by Meera Lee

Is this Patrick Wolf growing up? He has almost gone a full circle back to the Lycanthropy days but with nothing to prove and nothing to hide. Or is he still evolving into Patrick Wolf 5.0?

Categories ,Farzeen Jabbar, ,fashion, ,Faye West, ,Krister Selin, ,Lady Gaga, ,Live Review, ,Magic Position, ,Meera Lee, ,music, ,Patrick Wolf

Similar Posts:






Amelia’s Magazine | Regina Spektor: A Live Review

reginaspektor1

On Friday night I donned a woolly hat and braved the cold, more about fingers wrapped tightly around my ticket for Regina Spektor’s sold out show at the HMV Hammersmith Apollo. A New Yorker via Moscow, Spektor is known for her electric mix of classical and popular music, as well as her unorthodox vocal techniques.

At a little past nine Regina walked into view looking like an exquisite Russian doll, with her trademark curls and red lips, to take her place centre stage behind the piano. And of course classically trained Spektor isn’t alone on this occasion she shares space with a drummer and a string quartet.
The first run of songs is from her new album ‘Far’, released this year to rave reviews. The album’s a sweet, upbeat affair, which she introduces us to with ‘Calculation’, ‘Eet’ and then ‘Folding Chairs’, quickly proving that her latest effort isn’t just a hit with the critics.

For someone that never really seems to have hit the mainstream in the UK, the intensity of the crowd is unparallel to any other gigs I’ve been to this year. During a retune of her piano Spektor breathily gushes, “Thank you so much for coming to see us” and then “I fucking love you guys”, words met by an instant chorus of “We love you Regina!” These declarations just got more and more erratic throughout the gig.
After ‘Blue Lips’ we were treated to two classics and sing along favourites, ‘On the Radio’ and ‘Sailor Song’. The latter being slightly ruined for me by a fellow audience member, unable to remember the words to all the song, intermittently shouting “Maryanne’s a bitch” and then when out of breath just, “Bitch”. Which was slightly disconcerting when he was just a few feet behind me.

reginaspektor

Later she rises from her piano to treat us to a stripped down, slightly bizarre version of ‘Bobbing Apples’. It started with an almost antidote about eye colour (I think you had to be there), and ends with the repetition of the amazing lyrics,“someone next door’s fucking to one of my songs”, where she stretches her vocals as far as they’ll go. Next she picked up her guitar for my personal favourite, “That Time”. Considering the play count for that song on my Itunes is at over a hundred I was suitably impressed with it live.
As good as the songs from ‘Far’ are, the encore is an unmistakable highlight, where she plays, ‘Us’, ‘Samson’, ‘Hotel Song’ and ‘Better’. And although the playing of her most famous songs is certainly no shocker, she finishes with a full on country jig titled ‘Love you’re a Whore.’ Let it be said here that Regina Spektor was kooky long before Lady Gaga started wearing headbands made of human hair, and that I’m sure she will be long after.

Categories ,Hammersmith Apollo, ,Lady Gaga, ,live, ,london, ,music, ,Regina Spektor, ,review

Similar Posts: